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OFFENSIVE   BASKETBALL 


LOOK   MAGAZINE    PHOTO 


(offensive 

basketball 


Frank  McGuire 

HEAD  COACH  OF  BASKETBALL 
UNIVERSITY  OF 
NORTH  CAROLINA 


™REB^XICE-HTAJL1<9  Inc.  englewood  cliffs,  n.  j. 


lib 


TO 

MY  WIFE,  PAT 

ALWAYS  AN  INSPIRATION 


Second  printing,  July,  1959 


©  1958,  by  PRENTICE-HALL,  Inc. 
Englewood  Cliffs,  N.  J. 

all  rights  reserved.  no  part  of  this 
book  may  be  reproduced  in  any  form, 
by  mimeograph  or  any  other  means, 
without  permission  in  writing  from 
the  publishers. 

Library  of  Congress  Catalog  Card 
Number:   58-14410 


PRINTED    IN    THE    UNITED    STATES    OF    AMERICA 


63079 


PRENTICE-HALL  PHYSICAL  EDUCATION  SERIES 


foreword 


It  is  a  pleasure  and  an  honor  to  preface  this  book  on  basketball 
by  Frank  McGuire.  I  first  became  acquainted  with  Frank  during 
our  navy  days  at  Chapel  Hill,  a  beautiful  little  town  in  North  Caro- 
lina. Frank  has  always  been  a  keen  student  of  the  game  of  basket- 
ball and  imparts  his  wisdom  to  his  players  with  much  enthusiasm.  He 
finished  one  of  the  most  remarkable  years  ever  compiled  in  basket- 
ball in  1957.  when  his  team  won  32  straight  games  and  the  National 
Collegiate  Championship. 

One  of  the  reasons  behind  Frank's  success  is  the  way  he  affects 
his  players.  He  is  an  inspiration  to  them,  since  they  not  only  respec: 
and  obey  him  willingly,  but  also  try  to  live  up  to  his  desire  that  they 
set  an  example  for  their  fellow  students  spiritually,  morally,  and 
scholastic  ally. 

Frank  has  been  called  the  best  public  relations  man  in  North 
Carolina.  He  has  many  friends  from  even'  walk  of  life  in  all  parts 
of  the  country.  He  is  in  constant  demand  as  a  speaker  because  of  his 
knowledge  of  basketball  and  human  behavior.  He  also  conducts 
many  clinics  each  year. 

At  North  Carolina  they  say  that  one  of  the  best  things  that  has 
happened  to  their  athletic  program  was  when  McGuire  became  bas- 
ketball coach.  In  his  first  five  years  as  coach,  his  teams  won  88 
games  while  losing  36.  He  has  been  building  steadily  and  his  North 


vi  FOREWORD 

Carolina  teams  have  won,  at  one  time  or  another,  over  all  major 
foes.  Some  of  his  victories  have  been  spectacular  upsets. 

The  genial  Irishman  has  hoisted  North  Carolina  University's 
basketball  team  from  a  low  ebb  to  high  respectability.  His  engag- 
ing personality  has  won  friends  who  will  continue  to  be  friends  and 
admirers  regardless  of  the  win-and-loss  record  of  his  teams.  Though 
his  job  is  producing  winning  teams,  and  he  likes  to  do  his  job  well, 
his  good  nature  and  thoughtfulness  are  not  impaired  by  the  pressure 
of  his  profession.  His  office  in  Wollen  Gym  at  the  University  is 
always  open  to  his  friends  and  students. 

In  addition,  Frank  is  reputed  to  be  one  of  the  best  young  coaches 
in  the  country.  He  came  to  North  Carolina  from  his  Alma  Mater, 
St  John's  University,  where  he  coached  for  5  years,  with  his 
teams  compiling  the  brilliant  record  of  106  wins  against  36  losses. 
Four  of  his  St.  John's  teams  went  to  the  N.I.T.  tournaments  and 
two  to  the  N.C.A.A.  tournaments.  Previous  to  coaching  at  St. 
Johns,  where  he  himself  had  been  a  star  basketball  and  baseball 
player,  he  coached  at  Xavier  High  School,  New  York  City. 

At  the  end  of  the  1956-1957  season,  Frank  joined  the  select 
circle  of  coaches  who  have  experienced  undefeated  records.  In 
compiling  this  record,  his  team  won  the  Dixie  Classic,  the  A.  A.  C. 
Conference  Championship,  the  A.  C.  C.  Conference  tournament, 
the  Eastern  Championship,  and  the  N.C.A.A.  title. 

W.  H.  H.  "Tippy"  Dye 
Coach  of  Basketball 
University  of  Washington 


preface 


An  old  maxim  exists  which  states  that  a  coach  is  no  better  than 
his  players.  The  truth  of  this  axiom  has  been  proven  time  and  again. 
Being  an  eternal  optimist — what  coach  isn't — I  like  to  dream  that 
some  season  when  I  don't  have  the  material,  I  can  somehow  mould 
the  boys  into  such  a  unit  and  fire  them  up  with  such  a  spirit  that 
we  can  win  in  spite  of  the  lack  of  material.  In  fact,  in  a  few  rare 
instances,  coaches  have  been  able  to  pull  off  such  miracles.  But  I 
have  been  at  the  game  long  enough  to  know  that  such  dreams  don't 
often  materialize.  The  best  a  coach  can  hope  for  year  after  year 
is  not  to  pull  off  a  miracle,  but  to  realize  the  potential  of  the  material 
with  which  he  has  to  work.  A  coach  never  looks  bad  when  he  has 
an  ordinary  season  with  weak  material,  but  he  certainly  does  with 
strong  material. 

All  I  am  trying  to  say  is  that  I  have  been  coaching  long  enough 
to  realize  the  vital  importance  of  the  players.  I  hope  I  never  be- 
come so  self -centered  that  I  forget  that  fact.  Most  of  my  time  is 
devoted  to  finding  a  few  boys  who  will  fit,  temperamentally  and 
physically,  into  my  system.  There  are,  I  am  quick  to  add,  hundreds 
and  even  thousands  of  high  school  graduates  each  year  who  can 
play  excellent  college  ball.  But,  early  in  their  careers  all  coaches 
and  players  fall  into  certain  definite  patterns.  As  a  result,  many 
fine  players,  through  no  fault  of  their  own,  just  will  not  fit  into 

vii 


viii  PREFACE 

a  different  system.  The  successful  coach,  therefore,  must  be  able  to 
recognize — and  he  frequently  doesn't  have  much  time — the  boys 
who  can  play  his  style  of  basketball. 

At  this  point,  of  course,  there  is  a  great  deal  of  luck  involved. 
We  can — and  frequently  do — make  mistakes.  The  player  fails  to 
develop,  or  he  won't  work,  or  he  thinks  too  slowly,  or  he  gets 
hurt,  or  he  becomes  homesick  and  goes  home,  or  he  can't  pass  his 
school  work.  These  and  other  related  problems  insure  coaches 
gray  hairs  and  stomach  ulcers  long  before  their  time.  All  any 
coach  can  do  is  try  to  eliminate  as  many  of  these  difficulties  as 
possible. 

By  now,  I  know  pretty  well  the  type  of  boys  I  want  for  my  system 
and  I  try  as  hard  as  I  can  to  get  them  interested  in  playing  under 
my  direction.  This  is  only  a  part  of  it.  It  is  necessary  to  interest 
them  in  the  University  of  North  Carolina  and  to  be  reasonably  cer- 
tain that  they  can  not  only  pass  North  Carolina's  entrance  examina- 
tions, but  that  they  can  maintain  the  scholastic  average  that  the 
University  requires  for  good  standing.  That,  as  all  coaches  know, 
is  a  grave  problem.  Even  when  we  secure  thoroughly  capable 
students,  we  sometimes  have  a  hard  time  making  them  understand 
that  academic  competence  comes  first  in  importance. 

Many  prep  school  stars,  potentially  fine  students,  fall  by  the  way 
because  their  chief  interest  is  in  sports  alone.  For  the  most  part, 
however,  this  problem  solves  itself  once  the  boys  get  settled.  They 
invariably  like  the  school  and  the  town  so  well  that  they  are  more 
than  willing  to  do  whatever  work  is  necessary  to  make  a  place  for 
themselves  in  the  school  as  students.  I  came  to  North  Carolina 
University  from  New  York  City  and  since  I  planned,  in  the  be- 
ginning, at  least,  to  look  there  for  my  material,  I  thought  the 
problem  of  acclimating  the  boys  might  prove  serious.  Actually,  this 
has  never  been  a  problem. 

As  every  college  coach  knows,  basketball  in  many  parts  of  the 
country  is  characterized  by  certain  pecularities  of  style  developed 
through  tradition,  coaching,  weather  conditions,  playgrounds,  and 
so  on.  And  a  coach  like  me  often  feels  that  he  is  better  off  to  find 


PREFACE  ix 

boys  who  have  played  under  conditions  and  in  a  style  with  which  he 
is  best  acquainted.  As  a  result,  I  have  tried  to  find  my  material  in  and 
around  New  York.  Not  only  do  I  know  the  system  played  there,  but 
I  understand  the  thinking  of  the  boys  since  that  is  my  home  area. 
I  am  not  foolish  enough  to  think,  of  course,  that  boys  from  the 
City  can  run  any  faster  or  jump  any  higher  than  others,  but  I  un- 
derstand them  better,  and  what  is  even  more  important,  they 
understand  me. 

Since  I  have  coached  and  played  high  school  basketball,  I  am 
familiar  with  the  problems  of  the  high  school  mentor.  I  am  keenly 
aware  that  he  cannot  seek  out  boys  who  are  familiar  with  and 
schooled  in  his  style  of  play.  He  must  work  with  the  boys  who  come 
to  him  up  through  the  lower  grades  and  his  problem  is  concerned 
primarily  with  the  development  of  players  to  fit  into  his  style  of 
play. 

The  high  school  coach  must,  therefore,  devise  a  system,  a  feeder 
system,  up  through  the  grades,  the  playgrounds,  the  Y.M.C.A.  and 
the  Y.M.H.A.,  and  the  community  organizations  and  centers, 
which  will  provide  the  type  of  player  he  desires.  This  system  calls 
for  a  complete  organization  of  all  "home-town"  coaches  to  provide 
a  certain  type  of  player.  It  is  at  this  point  that  the  personality  and 
salesmanship  of  the  coach  becomes  invaluable.  He  must  become  the 
home-town  ambassador  of  basketball  and  rally  the  grade  school 
and  other  home-town  coaches  behind  his  program.  It  means  hard 
work  and  long  hours  but  will  result  in  good  players  trained  in  the 
fundamentals  and  versed  in  the  style  of  basketball  the  coach  desires. 

It  is  my  hope  that  in  the  pages  of  this  book  the  hundreds  of 
coaches  who  have  written  me  concerning  the  philosophies,  prin- 
ciples, and  techniques  that  I  have  acquired  and  developed  may  find 
here  and  in  my  forthcoming  defensive  book  (Defensive  Basketball) 
something  worth  while  to  aid  them  in  their  own  coaching  careers. 

Frank  McGuire 


contents 


one  COACHING  PRINCIPLES  AND  PHILOSOPHIES  1 

A  coaching  code      1 

My  basketball  philosophy     7 

The  player  7,  The  team  9,  Checklist:  team  adaptability  9, 
Coaching  10,  Practices  11,  The  offense  12,  Scouting  12, 
The  game  12 

Planning  the  season  offensively      13 

Pre-season  13,  Gymnasium  and  equipment  14,  The  cap- 
tain 14,  Managers  14,  Staff  meetings  15,  Meeting  check- 
list 15,  Squad  meetings  16,  Conditioning  16,  Early  season 
(first  two  weeks  of  practice)  17,  In  season  18,  Training 
rules  18,  General  18,  Weight  problems  19,  Sleep  19, 
Diet  19,  Fatigue  21,  Pep  talks  21 

two  DEVELOPING  INDIVIDUAL  ATTACK  ABILITIES       22 

The  player  and  his  assets     22 

Who  can  play  basketball?  22,  How  does  a  good  basketball 
player  get  that  way?  22,  Player  allocations  23,  The  ideal 
player  24,  Player  advice  25,  Player's  checklist  25,  Selecting 
the  varsity  26 

Catching  and  passing  the  ball     28 

Speed  29,  Judgment  30,  Deception   30,   Split  vision  30 

The  passes     31 

The  two-hand  chest  pass  31,  The  bounce  pass  31,  The  over- 
head pass  32,  The  hook  pass  32,  The  baseball  pass  32, 

xi 


xii  CONTENTS 

two        DEVELOPING  INDIVIDUAL  ATTACK  ABILITIES  (Cont.) 

Back-flip  passes  33,  The  forward  flip  (bowling  pass)  33, 
Cross-face  and  cross-body  passes  33,  The  lob  pass  33,  The 
jump  pass  34,  The  fake-shot  pass  34,  Checklist:  passing 
tips  34 

Footwork     52 

The  dribble     64 

Checklist:  dribble  tips  65 

Fakes  and  feints     67 

Ball-and-foot  fake  67,  Dummy  play  74,  Fake  drive  and 
shot  74,  Fake  shot  and  drive  74 

Jumping      75 

Checklist:  tips  for  the  jumper  76 

Offensive  rebounding     77 

Cutting     78 

Screening     86 

Developing  marksmanship     93 

Marksmanship  principles  102 

Facing  shots      105 

Right-hand  lay-up  shot  107,  Down-the-middle  lay-up  shot 
107,  Two-hand  underhand  lay-up  shot  108,  One-hand 
underhand  lay-up  shot  108,  Two-hand  overhead  lay-up 
shot  109,  Twisting  lay-up  shot  109,  Under-basket  button- 
hook shot  109,  Running  one-hand  shot  109,  One-hand  set 
shot  110,  One-hand  overhead  shot  110,  The  two-hand  set 
shot  111,  Two-hand  overhead  set  shot  112,  Two-hand  over- 
head jump  shot  112,  The  two-hand  pump  shot  113,  One- 
hand  jump  shot  113,  Tip-in  shot  114,  Dunking  and  over- 
the-rim  shots  114 

Back-up  shots      115 

Straight  turn  shot  under  basket  115,  Step-away  shot  under 
basket  115,  Up-and-under  shot  116,  One-hand  jump-twist 
shot  116,  The  hook  shot  (left  and  right)  116,  The  half- 
hook  shot  117,  Two-hand  underhand  sweep  shot  118,  One- 
hand  underhand  sweep  118 

Diagonal  shots      118 

Diagonal  hook  shot  118,  Diagonal  stop-jump  shot  119, 
One-hand  jump  push  shot  119 


CONTENTS  xiii 

two       DEVELOPING  INDIVIDUAL  ATTACK  ABILITIES  (Cont.) 

Free-throw  shots      120 

Two-hand  overhand  free  throw  120,  Two-hand  overhead 
free  throw  120,  Checklist:  shooting  tips  121 

three       BUILDING  A  STYLE  OF  PLAY  150 

Theory  of  team  offense     150 

The  two-three  150,  Offense  checklist  153 
Advancing  the  ball      154 

The  fast  break      156 

Checklist:  fast-break  principles  158,  Checklist:  fast-break 
tips  166 

Give-and-go  weave      167 

Utilizing  the  big  man      172 

The  turnaround  play      175 

The  two-man  plays  (186  j 

The  three-man  plays      196 

Game  signals     207 

The  basic  offense     208 

Attacking   the   man-to-man   defense   208,    The   five-man 
give-and-go  weave  210 

Basic  two-three  offense     212 

The  five-man  roll     237 

The  four-man  roll  with  a  post-pivot     238 

Attacking  the  two-one-two  zone     238 

Attacking  the  two-three  zone     241 

Attacking  the  one-two-two  zone     242 

Attacking  the  three-two  zone       244 

Attacking  the  one-three-one  zone     245 

The  three-two  offense     247 

The  basic  zone  offense     247 


xiv  CONTENTS 

four        PREPARING  FOR  ATTACK  SITUATIONS  250 

Jump-ball  team  play     250 

Out-of-bounds  plays     256 

Playing  the  lane     266 

The  control  game     266 

Free-throw  play     268 

Freezing  the  ball     268 

Checklist:  freezing  tips  274 

Meeting  the  press     275 

Attacking  the  sag  and  the  float     280 

Attacking  defensive  variations     281 

five  GAME  ORGANIZATION,  SCOUTING,  STRATEGY     285 

Organization  for  game  day  285,  Checklist:  game  day 
plan  285,  Checklist:  game  strategy  286,  Locker-room  de- 
tails 288,  Pre-game  practice  288 

Offensive  game  strategy     289 

Style  of  game  to  be  played  289,  The  first  time-out  289, 
Substitutions  290,  Between  halves  291,  Checklist:  freezing 
the  ball  292,  Special  plays— with  seconds  to  go  293,  Scout- 
ing opponents'  offense  293,  Checklist:  meeting  opponents' 
defense  294 

six  DRILLS  AND  PRACTICE  OUTLINES  297 

Offensive  drills     297 
Offense  practice  outlines     317 
First  week     319 
Second  week     320 
Third  week     322 
Conclusion     323 

INDEX  324 


OFFENSIVE   BASKETBALL 


KEY  TO  CHARTS 


QQ      QD       ©        ®       (D         OFFENSIVE   PLAYERS 

|A|  [§]  [C]  [Dj  LMj   defensive  players 

O*  CJ         iL)  <L)         POSITION  OF  BALL 


^        PATH  OF  BALL 
_2^      PATH  OF  PLAYER 


DRIBBLE 


^       SCREEN 
BLOCK 


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}~5        REAR  TURN 


1 


coaching  principles  and 
philosophies 

A  COACHING  CODE 

1.  general  perspective 

Basketball  is  only  a  part  of  the  general  educational  system  and 
must  be  kept  in  its  proper  perspective.  A  coach  should  familiarize 
himself  with  the  administrative  policies  and  regulations  of  the 
school  and  follow  them  to  the  letter  with  a  cooperative  and  cordial 
attitude.  He  should  cooperate  fully  with  the  eligibility  and  schol- 
arship regulations  of  the  school  and  conference  and  support  them 
100  per  cent. 

2.  faculty  standing 

The  coach  is  a  member  of  the  faculty  and  must  endeavor  to 
follow  the  approved  methods  and  techniques  of  ethical  and  effi- 
cient teaching.  He  must  conduct  himself  with  dignity  and  be  fully 
aware  of  his  responsibilities  as  a  leader  of  youth. 

3.  training  and  health 

The  health  of  the  players  is  of  supreme  importance.  A  careful 

1 


2  COACHING    PRINCIPLES    AND    PHILOSOPHIES 

training  program  must  be  outlined  and  every  possible  measure 
taken  to  protect  the  squad.  An  injured  player  should  never  be 
neglected  by  the  coach.  Nor  should  the  injured  player  be  encour- 
aged or  forced  to  play  without  being  thoroughly  examined  and 
declared  fit  by  the  school  physician.  The  coach  must  never  forget 
that  he  is  not  a  physician.  He  should,  therefore,  refrain  from  pre- 
scribing treatment  for  illnesses  or  injuries. 

4.  school  loyalty 

It  is  important  that  the  coach  make  a  special  effort  to  be  liked 
and  respected  by  the  student  body,  the  faculty,  the  administration, 
fellow  coaches,  and  players.  He  should  attend  all  pep  meetings 
and  boost  his  coaching  associates  and  their  teams.  The  intramural 
program  should  be  respected  and  the  coach  should  give  it  his  full 
support,  since  it  is  an  important  part  of  the  over-all  program. 

5.  public  relations 

The  coach  should  become  acquainted  with  the  townspeople, 
parents,  and  all  phases  of  the  life  of  the  community.  His  relation- 
ship with  the  parents  of  the  team  members  should  be  warm  and 
friendly.  The  coach  is  concerned  with  their  most  vital  interests. 
Further,  the  youngsters  are  at  an  impressionable  age  and  the  par- 
ents are  vitally  interested  in  their  welfare  and  progress.  It  is  wise 
to  remember  that  success  is  not  wholly  determined  by  the  winning 
of  games. 

6.  publicity 

The  student  paper  and  the  local  newspaper  are  vital  assets.  The 
coach  should  see  that  they  get  plenty  of  material  to  use  in  publi- 
cizing his  sport.  He  should  see  that  the  games  are  announced  and 
written  up.  He  should  be  frank  with  newspaper  friends  but  he 


COACHING    PRINCIPLES    AND    PHILOSOPHIES  3 

should  be  extremely  careful  about  chance  remarks  since  they  may 
be  misinterpreted. 


7.  sportsmanship 

Since  the  building  of  character  and  sportsmanship  is  of  major 
importance  in  sports,  it  is  the  duty  of  the  coach  to  make  sure  that 
his  actions  and  those  of  his  players  present  high  ideals  of  sports- 
manship at  all  times  and  in  all  situations.  The  coach  must  re- 
member that  his  own  behavior  and  speech  set  a  pattern  for  his 
players,  spectators  and  other  partisans.  Going  further,  the  coach 
should  avoid  "pouring  it  on"  a  weak  team,  criticizing  another 
coach  or  an  official,  or  humiliating  anyone  under  any  circum- 
stance. 

8.  rules 

Without  rules  there  can  be  no  game.  The  coach  must  follow 
and  abide  by  them  and  coach  within  the  bounds  of  correct  inter- 
pretations. The  coach  should  also  recognize  the  difficulties  met  in 
game  officiating  and  do  everything  in  his  power  to  support  the 
officials.  If  an  official  is  clearly  incompetent,  he  should  be  reported 
through  the  proper  officials'  organization. 

9.  professional  interest 

The  coach  should  be  aware  of  his  personal  limitations  with  re- 
spect to  complete  knowledge  of  the  game.  He  must,  therefore,  be 
a  student  of  the  game,  trying  constantly  to  improve  his  knowledge 
by  reading  pertinent  texts,  through  graduate  study,  and  by  attend- 
ing coaching  schools,  summer  courses,  and  college  and  profes- 
sional games. 

The  coach  should  do  everything  in  his  power  to  promote  interest 
in  the  game,  aid  in  the  development  of  equipment,  and  safeguard 


4  COACHING    PRINCIPLES    AND    PHILOSOPHIES 

the  welfare  of  his  players.  He  should  endeavor  to  improve  the  game 
in  his  community  in  every  way — for  example,  by  sponsoring  clinics 
and  by  inviting  leading  personalities  of  the  game  to  visit  his  school. 
It  is  vital  that  the  coach  study,  analyze,  and  experiment  with 
every  aspect  of  the  game.  He  should  be  enthusiastic,  energetic,  in- 
dustrious, and  work  tirelessly  to  advance  basketball. 


TO.  player-coach  relationship 

The  coach  should  be  friendly  with  his  players  and  strive  to  de- 
velop mutual  respect  and  confidence.  He  should  check  their  mis- 
takes but  be  understanding  of  their  failures.  Perhaps  the  failure 
can  be  attributed  to  a  teaching  weakness.  The  coach  should  be 
understanding,  sympathetic,  and  yet  firm  in  dealing  with  his  play- 
ers. In  his  coaching  he  should  be  exacting,  but  quick  to  praise. 

A  list  of  training  rules  is  important.  Once  initiated,  the  rules 
must  be  enforced.  The  coach  must  impress  his  players  with  the 
importance  of  study  and  with  their  duty  to  parents,  the  team,  and 
their  school  to  maintain  academic  standing  and  eligibility. 

1 1 .  the  team 

The  coach  must  coordinate  the  individual  players  of  his  squad 
into  a  team  of  which  he  is  an  important  part.  He  should  in- 
spire his  players  to  love  the  game  and  instil  the  desire  to  win. 
The  coach  should  be  with  his  team  after  every  game — win  or 
lose.  Especially  in  defeat  should  he  stand  beside  them,  sharing 
their  disappointment,  but  lifting  their  spirits  by  his  confidence  in 
the  future. 

12.  fundamentals 

The  sound  approach  to  coaching  begins  with  the  teaching  of 
fundamentals.  The  coach  must  have  the  patience  to  drill  and  drill 


COACHING    PRINCIPLES    AND    PHILOSOPHIES  5 

and  drill  again  in  the  correct  performance  of  the  fundamental  skills 
of  the  game.  There  is  no  short-cut  to  successful  coaching.  Trick 
methods,  short-cuts,  and  Fancy  Dan  plays  lead  only  to  disaster. 
A  good  team  is  one  that  is  sound — fundamentally! 

13.  leadership 

The  coach  must  have  the  ability  to  "take  charge,"  since  he  can 
develop  leadership  in  his  players  only  by  displaying  confidence, 
poise,  and  aggressiveness  in  a  given  situation.  Action  of  some  kind 
in  a  crisis  is  better  than  no  action  at  all. 

14.  practice  programs 

The  coach  should  plan  his  season  and  his  daily  practices  care- 
fully since  time  is  precious.  Without  careful  planning  it  is  easy  to 
overlook  an  important  part  of  the  program.  Yet,  while  following 
through  with  intelligent  and  careful  planning  and  a  driving,  game- 
type  workout,  the  coach  must  not  forget  the  importance  of  "fun" 
in  his  practices. 

Since  the  coach  must  conserve  every  minute  of  his  practice  time, 
he  should  demand  that  the  players  report  promptly  for  the  work- 
outs and  games.  Supervision  of  the  locker  room  is  important  to 
control  horseplay  and  to  check  injuries.  The  coach  and  his  assist- 
ants, managers,  trainers,  and  other  leaders  should  set  the  example. 

Planned  practice  sessions  conserve  time  and  aid  in  sustaining 
attention.  There  should  be  such  complete  understanding  between 
the  coach  and  the  players  that  his  voice  or  a  blast  on  the  whistle 
will  command  immediate  attention. 

It  has  been  said  time  and  again  that  basketball  is  a  game  of 
habits.  The  down-to-earth  approach  to  the  mastery  of  fundamentals 
requires  constant  repetition  through  drills.  However,  the  daily  pro- 
gram should  be  planned  so  that  each  difficult  and  trying  drill  is 
followed  by  a  "rest"  or  fun  drill.  This  aids  the  coach  in  keeping 
his  players  alert  and  enthusiastic. 


6  COACHING    PRINCIPLES    AND    PHILOSOPHIES 

Repetition  until  the  act  becomes  a  habit  is  unquestionably  the 
secret  in  mastering  basketball  skills.  But  such  repetition  without 
frequent  change  can  and  does  develop  player  fatigue  and  monot- 
ony. A  short,  snappy  drill  on  one  phase  of  the  game  executed 
enthusiastically  and  then  shifted  to  another  and  different  type  of 
work  will  insure  much  greater  results. 

Every  drill  in  the  coach's  program  should  be  directed  specifically 
toward  the  development  and  improvement  of  a  skill  that  blends  into 
his  planned  offense  and  defense.  Great  teams  are  found  to  be 
composed  of  players  who  are  strong  in  the  execution  of  funda- 
mentals. 

Progress  in  learning,  condition,  and  team  spirit  accompanied  by 
a  close  personal  relationship  between  coach  and  player  will  build 
strong  esprit  de  corps.  Discipline  is  necessary,  but  it  can  be  de- 
veloped more  effectively  through  player  respect  than  through  posi- 
tion authority.  It  is  wise,  too,  to  keep  in  mind  that  harsh  criticism 
destroys  respect  and  confidence,  whereas  praise  builds  personal 
and  team  morale. 

I  like  to  come  to  each  of  my  practices  with  something  new.  Per- 
haps it  is  a  funny  story,  a  new  drill,  a  new  play,  or  some  sort  of 
basketball  idea  that  may  prove  a  diversion  from  the  usual  practice 
work. 

I  believe  in  the  value  of  individual  coaching.  A  good  way  to 
work  this  into  the  practice  program  is  to  arrive  early  on  the  court 
and  to  move  from  one  player  to  another  and  assist  each  with  some 
phase  of  the  game  in  which  he  needs  help.  I  believe  also  in  the 
value  of  working  with  small  groups.  Long  lines  of  players  who  must 
wait  interminably  a  turn  in  executing  a  drill  means  a  poorly  or- 
ganized practice  program  and  the  loss  of  valuable  working  time. 
Form  your  players  into  small  groups  at  different  locations  on  the 
floor  and  see  that  every  player  is  kept  busy. 

1 5.  the  coach 

The  coach  is  much  more  than  a  teacher  of  sports.  He  is  a  leader 


COACHING    PRINCIPLES    AND    PHILOSOPHIES  7 

of  youth.  Cleanliness  of  mind,  person,  dress,  and  speech  are  as 
much  a  part  of  his  stock  in  trade  as  a  knowledge  of  basketball. 
And,  since  the  players  represent  the  school,  the  community,  and 
the  coach,  it  is  important  that  they  be  taught  the  value  of  personal 
cleanliness,  clean  and  well-pressed  clothing,  politeness,  courtesy, 
clean  speech,  and  good  table  manners.  Further,  since  their  school- 
mates often  use  them  as  examples,  they  should  not  permit  them- 
selves to  become  sloppy  in  dress  or  to  go  unshaven,  or  the  like. 
The  coach  must  demand  that  the  players  observe  the  same  rigid 
self -discipline  he  observes. 

Boys  and  young  men  are  highly  impressionable,  particularly  in 
the  field  of  sports.  Quite  often,  whether  he  realizes  it  or  not,  the 
coach  becomes  a  sort  of  hero  to  his  players  and  other  youngsters. 
It  is  imperative  that  he  make  a  wholesome  impact,  demonstrate 
manliness,  a  strong  competitive  spirit,  exemplify  good  sportsman- 
ship, and  stress  strict  observance  of  the  rules.  All  coaches  teach 
character — and  their  degree  of  success  is  in  no  way  measured  by 
games  won  or  lost. 

Most  important  of  all,  the  coach  must  remember  that  he  repre- 
sents the  type  of  man  to  whom  he  would  entrust  his  own  son  for 
character  training. 

MY  BASKETBALL  PHILOSOPHY 

One  definition  of  a  philosophy  is  that  it  is  one's  personal  attitude 
expressed  in  a  systematic  body  of  general  conceptions  with  the 
implication  that  they  will  be  generally  applied. 

It  sounds  pretty  involved  to  me  but  I  try  to  follow  a  philosophy 
toward  the  game  of  basketball  that  may  be  reflected  in  the  follow- 
ing paragraphs. 

the  player 

It  is  my  belief  that  all  of  basketball  starts  with,  endures  with,  and 
ends  with  the  player.  I  believe  that  it  is  my  job  to  instil  spirit  and 


8  COACHING    PRINCIPLES    AND    PHILOSOPHIES 

enthusiasm  in  my  players,  inspire  them  with  the  intense  desire  to 
be  the  best  players  in  the  world,  and  imbue  them  with  a  winning 
spirit. 

I  believe  that  it  is  important  to  "pour  it  on"  my  players  and 
make  them  work  hard.  I  also  believe  that  it  is  my  job  to  so  convince 
them  that  hard  work  pays  great  individual  and  team  dividends  that 
they  will  want  to  work  hard.  Along  this  line,  I  believe  that  a  player 
remembers  and  respects  most  the  coach  who  drills  him  hard  and, 
through  repetition,  "makes  him  do  it  right." 

Happy  players  are  good  players.  Practices  and  games  should  be 
fun.  Too  much  work  and  too  little  fun  results  in  boredom  and  stale- 
ness.  I  like  to  plan  my  practices  so  they  will  not  become  monot- 
onous. To  that  end,  I  like  to  keep  the  workouts  hopping,  shifting 
rapidly  from  one  drill  to  another,  accompanied  by  a  lot  of  good- 
natured  yelling  and  player  enthusiasm. 

Though  it  is  important  to  have  player  discipline  in  order  to  get 
the  best  out  of  a  boy,  I  want  him  to  understand  that  it  is  he  who 
plays  the  game,  not  the  coach.  And  I  want  him  to  play  freely,  with- 
out fear  of  making  a  mistake.  Only  in  free  play  can  a  boy  respond 
spontaneously  to  game  situations. 

It  is  easy  to  overplay  the  important  members  of  the  team.  It  is 
easy  to  do  them  an  injustice  by  keeping  them  in  the  game  in  order 
to  build  up  an  impressive  score  or  to  increase  an  individual  scor- 
ing record.  Keep  in  mind  that  the  ratio  of  fatigue  increases  and 
player  effectiveness  decreases  with  the  amount  of  time  played. 

I  like  to  have  a  good  supporting  cast  for  my  "first"  five  and  to 
make  the  "seconds"  feel  important.  I  realize  that  reserves  will  never 
develop  poise  and  confidence  unless  they  are  used  in  regular  game 
play.  And  I  realize,  too,  that  they  will  never  feel  they  really  "be- 
long" unless  they  are  used  in  the  games.  Using  reserves  for  varsity 
"fodder"  results  in  disgruntled  players  who  can  easily  influence 
regulars  in  the  wrong  way  of  thinking.  My  players  and  everyone 
concerned  must  feel  that  the  team  is  greater  than  the  star,  greater 
than  the  first  five,  the  coach,  or  any  other  individual.  In  addition 
to  bringing  my  varsity  reserves  along,  I  pay  particular  attention  to 


COACHING    PRINCIPLES    AND    PHILOSOPHIES  9 

the  freshmen  and  the  jayvee  players  and  make  sure  that  they 
realize  that  I  am  sincerely  interested  in  their  progress. 

Lastly,  I  must  feel  that  every  player  who  plays  for  me  takes  some- 
thing more  than  basketball  skills  and  game  experiences  with  him 
when  he  graduates. 

the  team 

I  believe  that  morale,  poise,  skill,  confidence,  and  the  will  to  win 
are  vitally  important.  Team  intelligence  and  the  ability  to  take  ad- 
vantage of  game  opportunities  are  necessary  for  championship 
play.  An  important  part  of  my  job  is  to  impress  my  players  that, 
in  most  cases,  the  team  that  makes  the  fewest  mistakes  will  win. 

I  feel  it  is  my  responsibility  to  see  that  my  team  is  equipped  with 
a  basic  attack  to  meet  the  man-to-man  and  the  zone  defenses  and 
that  it  can  use  variations  and  modifications  to  take  care  of  special 
situations.  Naturally,  the  team  should  have  the  ability  to  change  its 
style  of  play  a  number  of  times  so  that  an  effective  attack  can  be 
summoned  in  any  emergency.  To  that  end,  my  team  should  and 
must  have  team  adaptability. 


TEAM  ADAPTABILITY 
1 

Slow  down  the  offense  when  an  opponent  is  too  fast  for  us. 

2 
Crash  the  offensive  board  if  the  opponents  cannot  fast-break. 

3 

Play  a  possession  game  when  the  opponents  adopt  that  style  of 
play  (meet  fire  with  fire). 


Use  the  stall  offense  when  the  opponents  have  an  unusually  tall 
defensive  player  who  can  block  our  close-to-the-basket  shots 
(maneuver  him  out  of  position  with  a  planned  attack). 


10  COACHING    PRINCIPLES    AND    PHILOSOPHIES 

5 

Utilize  the  fast  break  when  the  opponents  do  not  observe  de- 
fensive balance  or  are  big  and  slow. 


Finally,  I  demand  that  my  players  be  conditioned  and  prepared 
to  put  pressure  on  the  opponents  all  the  way — throughout  the 
game,  down  the  stretch,  and  in  the  overtime  periods.  This  is  pos- 
sible only  when  every  player  is  in  tip-top  shape  and  remains  that 
way  from  the  first  game  of  the  season  to  the  last. 


coaching 

I  believe  the  coach  must  exude  tremendous  enthusiasm  for  the 
game.  He  must  love  the  sport  and  be  willing  to  give  freely  of  every 
part  of  his  being  to  the  game.  He  must  believe  in  himself  and  in 
his  methods  and  techniques;  he  must  keep  constantly  in  mind  that 
basketball  is  a  game  of  fundamentals.  Above  all,  he  must  be  him- 
self. 

I  think  every  coach  should  have  a  predetermined  concept  of  his 
style  of  attack  and  that  he  should  drill  his  players  in  his  methods 
until  they  become  second  nature.  However,  it  is  important  to  re- 
member that  it  is  easy  to  "overcoach." 

Mimeographed  copies  of  attacks  and  game  situations  are  easy 
to  prepare  and  are  great  coaching  aids.  I  like  to  hold  frequent  skull 
practices  and  use  the  blackboard  and  the  strategy  board  to  illus- 
trate situations.  In  this  connection,  I  believe  it  is  important  that 
the  player  take  a  leading  part  in  explaining  the  purposes  and 
reasons  for  the  pertinent  offenses  in  the  given  situations. 

Time  is  of  the  essence;  wasted  time  is  dangerous.  Each  of  my 
practices  is  outlined,  and  the  outline  is  followed  at  full  speed. 
Short  practices,  during  which  the  elements  are  run  off  smoothly  and 
enthusiastically,  are  much  more  valuable  than  long-drawn-out 
workouts. 

I  believe  in  stressing  a  philosophy  of  pressure  offense.  I  feel  it  is 


COACHING    PRINCIPLES    AND    PHILOSOPHIES  11 

important  that  my  players  feel  that  they  are  champions,  that  the 
opponents  must  worry  about  us. 

I  am  fully  aware  that  the  health  of  my  players  is  vital.  Therefore, 
it  is  important  that  they  be  protected  from  colds,  sprains,  foot 
blisters,  and  other  threats.  Here  the  services  of  a  trainer  or  a  team 
physician  are  invaluable.  Training  rules  should  require  a  certain 
amount  of  sleep,  regular  meals,  and  other  sound  practices  as  out- 
lined later  on  in  this  chapter. 

I  believe  that  my  team  must  be  well  trained  in  the  basic  skills. 
Every  player  should  be  a  good  shooter,  have  basketball  speed,  be 
well  conditioned,  be  an  expert  ball  handler,  know  the  importance 
of  offensive  rebounding,  and  understand  the  basic  offenses  and 
their  application. 

The  coach  should  have  a  close  relationship  with  his  captain  and 
his  quarterback.  Daily  talks  and  a  "meeting  of  the  minds"  with 
respect  to  strategy  and  game  tactics  are  important. 

I  try  to  use  all  my  players.  I  like  to  get  my  substitutes  into  the 
game  when  we  have  a  lead  and/or  in  the  first  half  of  any  game.  No 
game  is  ever  lost  in  the  first  half.  It  is  important  that  my  best  five 
be  ready  for  the  final  part  of  the  game — rested,  free  from  the 
worry  of  personal  fouls,  and  in  a  good  competitive  frame  of  mind. 

Every  game  is  the  game.  You  invite  disaster  when  you  look 
ahead  to  a  future  rival  and  forget  the  game  at  hand.  It  is  far  better 
to  try  to  win  them  "one  at  a  time." 

practices 

I  believe  that  practice  sessions  should  simulate  as  closely  as 
possible  game  conditions.  Since  our  games  at  North  Carolina  Uni- 
versity are  usually  played  at  night,  I  favor  night  practices.  (I  realize 
that  this  may  not  be  possible  in  high-school  and  preparatory-school 
competition  for  many  reasons  that  usually  do  not  affect  college 
coaching.)  I  believe  in  charted  areas  and  spots  for  shooting.  And 
I  believe  that  players  shoot  better  from  certain  areas  on  the  court 
than  from  others. 


12  COACHING    PRINCIPLES    AND    PHILOSOPHIES 


the  offense 

In  my  opinion,  team  offense  begins  with  the  fast  break.  But  I 
also  believe  that  it  should  be  a  controlled  break  and  one  that  lends 
itself  to  the  best  use  of  the  player  talent  available.  I  like  my  players 
to  be  so  skilled  in  the  use  of  the  fast  break  that  they  can  pull  out  of 
it  without  a  bad  shot  or  loss  of  the  ball  when  it  is  obvious  that  the 
advantage  is  lost. 

I  do  not  believe  in  a  set  offense  or  in  set  plays  as  such.  In  my 
opinion,  any  offense  is  good  that  employs  free  circulation,  floor 
balance,  and  the  coordination  of  the  players  through  the  execution 
of  fundamentals.  However,  in  teaching  my  type  of  offense,  I  believe 
in  drilling  my  players  in  certain  plays  and  series  of  plays  in  order 
to  develop  automatic  passing  and  scoring  reactions  to  the  situations 
that  may  be  met. 

I  believe  in  slowing  down  my  team's  attack  when  I  feel  it  is 
necessary  in  order  to  win.  And  I  believe  in  freezing  the  ball  when 
it  may  insure  victory. 

I  believe  that  it  is  extremely  important  to  make  definite  plans 
and  practice  regularly  getting  the  ball  from  the  center  jump,  from 
held  balls,  loose  balls,  and  rebounds,  and  through  interceptions. 


scouting 

I  believe  scouting  is  important;  scouting  notes  assist  materially 
in  the  winning  of  games.  Every  coach  should  avail  himself  of  the 
best  scouts  available. 


the  game 

The  coach  should  have  his  team  ready  to  adapt  an  offense  to 


COACHING    PRINCIPLES    AND    PHILOSOPHIES  13 

meet  any  defense,  and  he  must  not  be  afraid  to  gamble.  He  should 
make  the  decisions.  The  players  expect  him  to  lead  and  to  take 
the  initiative  when  decisions  are  necessary.  He  should  not  sit,  and 
wait,  and  hope  that  things  will  improve.  He  should  act! 


PLANNING  THE  SEASON  OFFENSIVELY 

pre-season 

A  coach  should  keep  in  close  touch  with  his  players  during  the 
entire  year.  Most  boys  who  play  basketball  become  specialists  in 
the  sport  and  play  the  year  around.  Year-round  play  is  possible 
because  of  the  development  of  summer  basketball  and  the  con- 
struction of  outdoor  courts  all  over  the  country.  The  veteran  mem- 
ber of  the  team  may  not  need  much  advice  toward  improving  him- 
self during  the  summer,  but  the  freshmen  and  other  players  who 
have  not  reached  a  high  degree  of  development  should  be  given 
some  suggestions  so  that  they  may  work  on  them  during  the  sum- 
mer. Mere  thinking  about  these  suggestions  will  help,  and  the  fact 
that  the  coach  has  given  thought  to  their  improvement  is  im- 
portant in  building  the  players'  morale. 

When  it  is  impossible  to  keep  in  close  personal  contact  with  his 
players,  the  coach  can  send  them  a  general  letter  a  month  or  six 
weeks  previous  to  the  opening  practice.  This  letter  should  contain 
an  outline  of  the  season  plans  and  objectives  and  some  personal 
hints  for  individual  improvement  as  well  as  some  suggestions  con- 
cerning conditioning.  It  is  wise  to  advise  the  player  that  he  should 
not  engage  in  regular  games  prior  to  the  first  practice,  but  that  he 
should  shoot  around  for  fun,  improve  his  dribbling,  passing,  re- 
bounding, jumping,  and  other  fundamentals.  Certain  exercises  such 
as  rope  skipping,  light  calisthenics,  shadow  boxing,  use  of  a  medi- 
cine ball,  and  running  to  strengthen  the  legs  and  improve  the  wind 
are  to  be  recommended. 


14  COACHING    PRINCIPLES    AND    PHILOSOPHIES 


gymnasium  and  equipment 

The  head  coach  should  personally  check  the  equipment  he  will 
need  for  the  season,  making  sure  that  it  is  in  good  condition  and 
that  there  is  sufficient  quantity  to  adequately  suit-up  his  varsity, 
junior  varsity,  freshmen,  and  other  teams.  Next  he  should  inspect 
the  gymnasium  to  see  that  the  court  is  well  marked  and  in  good 
condition.  The  baskets,  nets,  scoreboard,  time  clock,  and  scoring 
tables  should  also  be  checked  at  this  time. 


the  captain 

The  selection  of  a  captain  is  a  serious  matter  for  everyone  con- 
cerned: for  the  school,  the  student  body,  the  coach,  and  particu- 
larly for  the  team.  Since  the  captain  is  the  team's  representative,  I 
want  to  be  sure  the  right  man  is  selected.  For  some  years  I  have 
personally  appointed  the  captain  and  the  method  has  been  suc- 
cessful. 


managers 

A  good  senior  manager  means  a  good  start.  It  is  important  that 
the  right  youngster  have  the  job.  It  has  been  my  good  fortune  to 
have  managers  who  were  fine  administrators  and  enthusiastic 
sportsmen. 

An  organization  functioning  year  after  year  in  which  freshmen, 
sophomores,  juniors,  and  seniors  advance  in  that  order  to  the  posi- 
tion of  head  manager  means  that  the  coach  will  have  an  experi- 
enced and  interested  youngster  on  hand  to  handle  the  hundred- 
and-one  details  and  responsibilities  encountered  during  the  season. 

The  duties  are  too  numerous  to  discuss  here.  However,  if  a 
check  list  is  mimeographed  for  each  practice,  home  game,  game 


COACHING    PRINCIPLES    AND    PHILOSOPHIES  15 

away  from  home,  and  tournament,  it  will  eliminate  many  over- 
sights and  insure  the  proper  execution  of  the  managers'  duties. 


staff  meetings 

The  head  coach  will  undoubtedly  have  his  season  plans  formu- 
lated in  advance,  but  it  is  wise  to  devote  several  staff  meetings  to 
their  discussion.  The  assistant  coaches,  trainer,  captain,  and  the 
senior  manager  should  be  present. 

At  these  meetings  the  duties  of  each  member  of  the  staff  should 
be  outlined  and,  in  general,  the  following  should  be  discussed: 

MEETING  CHECK  LIST 
1 

Review  the  previous  season's  highlights,  weaknesses  of  the  team 
such  as  shooting,  ball  handling,  defense,  use  of  the  fast  break,  re- 
bounding, blocking  out,  taking  bad  shots,  condition,  cliques, 
spirit. 

2 

Evaluate  returning  and  new  players. 

3 
Plan  the  offense  and  defense. 

4 
Set  up  conditioning  and  training  rules. 

5 
Plan  the  use  of  teaching  aids,  movies,  charts. 

6 
Plan  a  practice  outline  built  around  the  season's  schedule. 

7 
Discuss  drills  and  special  attacks  and  defenses. 


16  COACHING    PRINCIPLES    AND    PHILOSOPHIES 

8 
Prepare  player  progress  charts,  game  performance  charts. 

9 
Plan  for  trips  and  look  ahead  to  tournaments. 


squad  meetings 

Several  orientation  meetings  should  precede  actual  floor  prac- 
tices. With  the  liberal  use  of  a  blackboard,  the  coach  can  familiarize 
the  squad  with  his  offensive  and  defensive  theories  of  the  game, 
conditioning  and  training  rules;  outline  and  discuss  his  season 
plans,  drills,  and  practice  outlines;  and  cover  the  basketball  rules. 

Forms  for  physical  examinations  and  parents'  playing  permis- 
sion can  be  distributed  and  gotten  out  of  the  way.  The  entire  staff 
should  take  part  in  these  meetings  and  cover  their  assigned  duties 
so  that  all  concerned  will  understand  their  responsibilities. 

conditioning 

Pre-season  work  by  the  individual  player  should  enable  him  to 
report  for  the  early-season  practices  in  fairly  good  condition.  If  a 
new  candidate  or  even  a  veteran  is  not  sufficiently  interested  in  his 
personal  physical  condition  to  do  some  pre-season  work,  it  is  doubt- 
ful that  he  will  contribute  much  to  the  team.  Personally,  I  find  that 
it  is  impossible  to  keep  my  players  away  from  basketball.  Many 
of  them  work  out  all  summer  and,  as  soon  as  school  opens,  they 
are  at  it  again — practicing  their  shots,  dribbling,  driving-in,  re- 
bounding, passing.  This  means  that  I  can  begin  my  early-season 
work  fairly  certain  that  much  of  the  basic  conditioning  has  been 
completed. 

I  believe  that  conditioning  can  be  most  wisely  accomplished 
through  basic  drills  and  training  in  fundamentals.  However,  calis- 


COACHING    PRINCIPLES    AND    PHILOSOPHIES  17 

thenics,  rope  skipping,  shadow  boxing,  and  the  use  of  medicine 
balls  are  excellent  conditioners.  Medicine-ball  drills  are  excellent 
for  loosening  up  the  fingers,  strengthening  wrists,  and  for  prac- 
ticing all  passes.  Incorporating  bending,  turning,  and  twisting  in- 
sures a  good  workout  before  actual  practice  begins. 


early  season  (first  two  weeks  of  practice) 

A  complete  week-by-week  practice  outline  will  be  found  in  the 
latter  part  of  this  book  (see  p.  319).  The  consideration  in  early 
practice  is  the  integration  of  conditioning  activity  with  fundamental 
drills  that  are  directed  toward  the  development  of  basketball  skills. 
For  example,  the  development  of  leg  power  and  "wind"  can  be 
accomplished  just  as  easily  by  a  fast-break  drill  or  a  full-press  drill 
as  by  running  on  an  outdoor  track. 

A  word  of  caution  is  advisable  here.  The  feet  are  unused  to  the 
hard  running  and  the  sudden  stops  and  starts,  and  it  is  wise  to  limit 
such  action  for  the  first  few  days.  The  use  of  two  pairs  of  sox  and 
a  commercial  hardening  application  will  be  of  great  help.  Tincture 
of  Benzoin  will  harden  the  skin,  assist  in  preventing  blisters,  and 
prevent  athlete's  foot. 

Many  coaches  jeopardize  the  entire  season  by  overworking  their 
players  during  the  first  few  practices.  It  is  easy  to  work  your  play- 
ers so  hard  the  first  day  or  two  that  they  may  be  crippled  for  an 
entire  week.  This  means  loss  of  time  and,  more  important,  loss  of 
the  player.  Naturally,  the  conditioning  program  is  stepped  up 
until  the  squad  is  able  to  work  at  full  speed  during  the  entire 
practice  session. 

The  players  soon  become  familiar  with  the  coaching  methods, 
and  now  a  time  schedule  can  be  put  into  operation.  I  work  no  more 
than  five  or  ten  minutes  on  a  single  fundamental  or  drill.  Midway 
in  the  practice  I  like  to  allow  a  ten-minute  freedom  "break"  in 
which  the  players  may  do  as  they  wish. 


18  COACHING    PRINCIPLES    AND    PHILOSOPHIES 


in  season 

Once  the  game  season  arrives,  the  big  problem  is  to  maintain 
the  conditioning  level  achieved  in  the  early-season  workouts.  This 
can  be  a  serious  problem  because  of  the  time  required  for  special 
offensive  and  defensive  work  in  preparing  for  the  next  opponent, 
light  practices  following  and  preceding  difficult  games,  and  in 
travel. 


training  rules 

The  trainer  is  an  invaluable  member  of  the  staff.  His  advice  in 
setting  up  the  practice  outlines,  establishing  the  training  rules,  and 
determining  a  proper  and  balanced  diet  is  followed  to  the  letter. 
Naturally,  the  high  school  coach  must,  in  most  cases,  assume  this 
responsibility  with  the  assistance  of  the  school  physician. 


General.  I  have  never  drawn  up  a  definite  set  of  training 
rules.  I  believe  that  the  players  should  be  aware  of  the  importance 
of  securing  plenty  of  sleep,  a  balanced  diet,  an  abundance  of  fruit, 
and  plenty  of  water  between  meals.  Naturally,  smoking  and  the 
use  of  intoxicating  beverages  cannot  be  countenanced. 

A  basketball  player  acquires  drive  through  hard  training,  forc- 
ing himself  day  after  day  beyond  the  point  at  which  he  first  be- 
comes fatigued  until  he  reaches  his  maximum  potential.  For  that 
reason,  I  do  not  believe  in  lay-offs  during  the  season.  If  practices 
are  interrupted  for  any  reason,  I  believe  the  player  should  be  urged 
to  keep  in  shape  through  roadwork,  calisthenics,  volleyball,  and  the 
like. 

If  the  players  desire  a  good  team  and  are  sold  on  training  as 


COACHING    PRINCIPLES    AND    PHILOSOPHIES  19 

vital  to  the  success  of  the  team,  they  will  be  glad  to  cooperate.  It 
is  fairly  easy  to  tell  whether  training  rules  are  being  violated.  In- 
ability to  keep  up  with  teammates  in  the  usual  drills,  poor  condi- 
tion, nervousness,  and  fatigue  are  indications. 

Weight  problems.  A  weight  chart  should  be  kept  by  the 
trainer,  assistant  coach,  or  manager.  The  player  should  weigh-in 
for  practice  and  weigh-out  after  his  shower.  A  study  of  the  chart 
from  time  to  time  will  enable  the  trainer  or  coach  to  determine 
whether  the  player  is  losing  weight  too  rapidly.  If  so,  it  is  wise  to 
have  the  boy  checked  by  a  physician.  After  the  first  two  or  three 
weeks  the  athlete  who  maintains  his  weight  level  certainly  is  not 
overtrained  and  is  in  little  danger  of  going  stale. 

Sleep.  The  highly  trained  and  conditioned  basketball  player 
requires  from  eight  to  ten  hours  of  sleep.  During  sleep  the  body 
repairs  broken-down  tissue,  renews  muscular  strength,  and  dis- 
poses of  waste  products. 

Diet.  The  subject  of  diet  for  the  athlete  has  been  controversial 
for  many  years.  However,  it  is  certain  that  three  regular  meals  a 
day  are  necessary.  Breakfast  and  dinner  should  be  heavy  meals  and 
lunch  should  be  light. 

The  player  should  not  practice  for  at  least  two  hours  after  meals, 
nor  should  he  eat  for  at  least  an  hour  after  practice.  Before  games 
it  is  wise  to  eat  three  to  four  hours  before  the  contest.  It  is  my 
opinion  that  a  normal  mixed  diet  is  sufficient  for  the  average 
athlete. 

The  college  coach  has  the  assistance  of  an  efficient  trainer  and 
usually  a  training  table  under  the  direction  of  a  trained  dietician. 
This  normally  takes  care  of  the  problem.  The  high  school  coach 
must  rely  upon  the  athlete's  parents.  The  average  mother  normally 
prepares  meals  that  are  appetizing,  appealing  to  the  eye,  and  well 
balanced.  She  will  usually  be  glad  to  follow  the  suggestions  of  the 
coach  with  respect  to  diet  in  the  interests  of  her  son. 

Something  like  the  following  might  be  suggested  to  the  player's 
mother: 


20  COACHING    PRINCIPLES    AND    PHILOSOPHIES 

Breakfast 
Fruit  juice 

Whole  fruit  (such  as  grapefruit,  oranges,  pears) 
Cereal  (whole  grain) 
Eggs  (poached,  boiled,  scrambled) 
Ham  or  bacon  (small  portion) 
Toast  and  jelly 
Milk 

Lunch 
Soup 
Sandwich 
Salad 

Fresh  fruit 
Toast 
Milk  or  tea 

Dinner 

Lean  meat,  fowl,  or  fish 

Fresh  vegetables  (raw) 

Cooked  vegetables 

Dessert 

Toast 

Milk 

Pre-game  meal 
12-ounce  steak 
Baked  potato 
Dry  toast 
Fruit  cup 
Hot  tea 

or 
Poached  egg 

Thin  slice  of  beef  (no  gravy) 
Fruit  juices 
Toast 

Moderate  cool  water 
Tea 
Something  sweet  (chocolate  bar) 


COACHING    PRINCIPLES    AND    PHILOSOPHIES  21 


fatigue 

There  are  two  kinds  of  fatigue:  physical  and  mental.  Physical 
fatigue  is  normally  evidenced  by  loss  of  weight,  a  drawn  look, 
worry,  lack  of  pep,  irritability,  lack  of  stamina,  and  an  erratic  prac- 
tice or  game  performance.  The  causes  could  be  a  poor  diet,  lack 
of  sleep,  working  or  studying  too  hard,  sickness,  lack  of  interesting 
practices  or  games,  or  the  need  for  a  rest. 

Rest  is  the  best  cure  for  physical  fatigue.  Limited  practice,  im- 
proved diet,  more  water  and  juices,  sleep,  sunshine,  music,  singing, 
fun,  relaxation,  and  massage  will  help. 

Mental  fatigue  in  athletics  usually  results  from  boredom  and 
loss  of  interest.  When  the  same  practice  outline  is  followed  day 
after  day  and  when  long  periods  of  time  are  devoted  to  practice  of 
a  single  skill,  enthusiasm  will  lag. 

New  plays,  new  drills,  new  methods,  competition,  fun  games, 
and  a  complete  change  of  practice  program  will  usually  bring  back 
the  desired  enthusiasm  and  drive.  This  is  the  point  where  the  coach 
must  not  permit  himself  to  let  down  in  his  personal  drive.  His  in- 
terest must  be  high,  enthusiastic,  driving,  and  he  should  present 
his  coaching  material  in  a  different  manner. 

pep  talks 

I  do  not  believe  in  pre-game  pep  talks.  It  is  detrimental  to  push 
your  team  to  a  high  emotional  point  too  often  during  the  season. 
The  morale  of  winning  teams  is  consistent  and  they  do  not  require 
the  emotional  approach. 


2 


developing  individual 
attack  abilities 


THE  PLAYER  AND  HIS  ASSETS 
who  can  play  basketball? 

Nearly  any  boy  or  man  can  play  basketball.  In  the  last  few  years 
the  trend  has  been  toward  tall  players  but  there  is  plenty  of  room 
in  the  game  for  those  of  any  size.  Height  is  important,  but  the  ad- 
vantage is  often  lost  because  of  lack  of  speed  or  poor  coordination. 
Though  speed  is  vital  in  today's  jet-propelled  game,  there  are  liter- 
ally thousands  of  players  who  possess  only  ordinary  speed  but  make 
up  for  it  by  spirit,  drive,  teamplay,  good  ball  handling,  and  shoot- 
ing skill.  Big,  heavy  players  often  find  a  place  on  the  team  because 
of  their  rebounding  and  "feeding"  abilities.  Scores  of  teams 
throughout  the  country  are  sparked  by  small  players.  Most  of  the 
good  teams  I  have  coached  included  one  or  more  players  in  each 
of  the  categories  described  above. 

how  does  a  good  basketball  player  get  that  way? 

He  can  make  himself  good  by  possessing  an  intense  desire  to 
improve;  by  intelligent  and  constant  practice;  by  studying  the  game 
and  its  situations,  and  by  developing  a  spirit  of  teamplay,  sports- 

22 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES  23 

manship,  and  self-confidence.  A  little  encouragement,  interest,  and 
constructive  criticism  can  do  wonders  in  the  development  of  an 
ambitious  youngster. 


player  allocations 

The  trend  in  recent  years  has  been  toward  development  and  use 
of  players  by  offensive  and  defensive  positions.  Professional  basket- 
ball has  pretty  generally  classified  its  offensive  players  to  conform 
with  the  Two-Three  offensive  formation  (two  backcourt  operators, 
two  corner  men,  and  a  pivot  or  post  player).  Defensively,  these 
teams  set  up  with  the  backcourt  players  serving  as  front-line  chasers 
while  the  pivot  and  corner  men  guard  the  under-basket  area,  block- 
ing out  and  retrieving  the  ball. 

Backcourt  players  are  usually  the  "quarterbacks";  corner  men 
operate  from  the  corners;  and  the  pivot  or  post  man  works  out  from 
the  basket  or  near  it  for  scoring  or  "feeding"  purposes.  With  three 
big  men  in  the  forward  line,  it  is  not  uncommon  in  this  style  of  play 
for  the  front-line  men  to  exchange  positions  and  duties.  The  smaller 
backcourt  players  usually  lead  the  fast  break,  set  up  the  attacking 
formation  and,  because  of  their  superior  passing  and  dribbling 
abilities,  initiate  the  plays.  Such  players  must  be  good  outside  shoot- 
ers, hard  dribblers,  possess  a  good  stop  shot  (jumper  or  set),  be 
expert  in  keeping  the  offense  spread,  and  have  the  ability  to  con- 
trol their  teammates  so  that  the  team  will  maintain  good  defensive 
balance. 

Corner  men  are  usually  tall,  rangy,  and  possess  good  leaping 
ability.  They  are  good  rebounders  and  fast  enough  to  take  part  in 
the  fast  break.  They  must  be  good  passers;  fine  corner  marksmen 
(usually  one-hand  sets  and  jumpers);  must  be  able  to  drive  along 
the  baseline  or  to  the  inside;  and  must  be  expert  at  following-in 
their  teammates'  shots.  In  some  offensive  styles  these  corner  men 
often  team  up  with  the  backcourt  "quarterbacks"  in  developing  a 
weave  or  roll  attack. 


24  DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 

The  pivot  or  post  player  must  have  good  back-up  shots  (pivot, 
turn,  and  hook  shots)  near  the  basket.  Today  most  of  the  pivot 
men  are  expert  with  facing  shots  (the  one-hand  set  and  the  jumper) . 
Further,  most  front-court  plays  are  directed  toward  or  around  the 
pivot  man  who  sets  up  a  position  on  either  side  of  the  free-throw 
lane  or  in  the  outer  half  of  the  free-throw  circle.  These  big  fellows 
are  usually  heavier  and  more  rugged  than  the  corner  man.  De- 
fensively, they  must  be  able  to  cope  with  the  opponents'  pivot 
player  and  be  the  team's  dominant  figure  "under  the  boards." 

The  above  allocation  or  positioning  of  players  permits  the  use 
of  the  professional  style  of  basketball  and  practically  any  other 
offense,  including  the  give-and-go  or  Eastern  style,  a  four-man 
weave  or  Western  Roll,  variations  of  the  figure-eight,  and  other 
pattern  attacks. 

Personally,  I  have  found  that  the  Two-Three  formation  permits 
quick  conversion  to  other  setups  such  as  the  Three-Two,  the  five- 
man  weave,  and  a  four-man  roll  with  the  pivot  man  stationed  in 
the  outer  half  of  the  free-throw  circle.  A  little  variation  of  the  Two- 
Three  formation  results  in  a  good  formation  with  which  to  attack 
various  zone  defenses.  Because  of  its  all-around  effectiveness  and 
my  familiarity  with  the  Two-Three,  I  have  added  a  few  variations 
and  adopted  the  style  as  my  basic  offense. 


the  ideal  player 

In  my  opinion,  the  most  important  asset  a  player  can  have  is 
love  for  the  game.  If  a  player  really  loves  basketball  he  can  over- 
come many  personal  handicaps.  The  fact  that  he  loves  basketball, 
means,  in  most  cases,  that  he  has  the  right  spirit;  that  he  will  work 
hard  to  succeed;  that  he  is  coachable.  I  place  a  high  premium  on 
good  temperament,  a  spirit  of  cooperation,  and  a  fighting  heart. 
Naturally,  physical  attributes  of  speed,  agility,  height,  and  mental 
alertness  are  of  vital  concern.  The  will  to  win,  courage,  team  spirit, 
ability  to  learn,  willingness  to  sacrifice  personal  glory  for  the  sake 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES  25 

of  the  team,  and  the  perseverance  necessary  to  train  and  maintain 
academic  standing  are  important. 

Naturally,  the  abilities  to  pass,  shoot,  dribble,  rebound,  and 
guard  an  opponent  are  necessary  game  skills.  But  with  the  above 
mentioned  qualities  of  spirit  to  urge  him  on,  I  believe  almost  any 
boy  can  master  the  fundamentals  of  the  game. 


player  advice 

Basically,  the  player  who  wishes  to  excel  in  basketball  must  like 
to  play  the  game,  possess  good  physical  stamina  and  good  emo- 
tional control.  He  must  be  willing  to  train  and  follow  training  rules 
conscientiously  as  an  evidence  of  his  loyalty  to  his  teammates,  the 
team,  the  coach,  and  the  school. 

Basketball  is  a  game  calling  for  quick  reflexes  and  fine  coordina- 
tion. Shadow  boxing,  heavy-bag  punching,  rope  skipping,  and 
medicine-ball  calisthenics  all  help  in  developing  coordination.  Of- 
fensive game  skills  such  as  passing,  shooting,  jumping,  rebounding, 
dribbling,  and  screening  can  be  perfected  only  by  hours  of  practice. 
Defensive  skills  such  as  guarding,  switching,  blocking  out,  and  re- 
bounding call  for  hour  after  hour  of  intense  work. 


PLAYER'S  CHECKLIST 
1 

School  work  is  the  beginning.  If  the  candidate  is  a  good  student, 
the  chances  are  he  will  be  a  good  player. 

2 

Listen  to  the  coach,  follow  his  directions,  and  hustle. 

3 

Courage  and  the  inner  force  (heart)  that  make  a  player  fight 
right  up  to  the  last  second  of  the  game  are  the  player's  finest 
asset. 


26  DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 

4 

Control  of  emotions  means  a  clear  head  in  a  tough  situation  and 
aids  in  being  a  good  sportsman.  Hotheads  often  go  to  pieces  in 
tense  moments. 


Rules  and  officials  govern  the  game.  The  good  player  will  fa- 
miliarize himself  thoroughly  with  the  rules  and  will  respect  the 
officials'  interpretations. 


Since  basketball  is  a  team  game,  the  player  must  direct  every 
effort  toward  being  a  good  teamplayer. 


A  good  basketball  player  plays  clean.  He  doesn't  resort  to  dirty 
tricks  to  demonstrate  his  ability. 

8 

If  a  player  must  relax  during  a  game,  he  should  do  so  when  his 
team  has  the  ball. 


Alertness  pays  off.  The  player  who  is  wide  awake  will  be  invalu- 
able in  taking  advantage  of  scoring  openings. 

10 

The  player  must  be  coachable,  able  to  assimilate  instructions,  and 
big  enough  to  take  criticism.  He  must  keep  in  mind  that  correc- 
tion of  mistakes  is  a  part  of  teaching. 


selecting  the  varsity 

Methods  of  selecting  the  varsity  squad  vary,  naturally,  with  the 
size  of  the  school  and  the  number  of  candidates  reporting  for  prac- 
tice. Considerations  associated  with  the  selection  of  each  player  are 
his  mental  and  moral  characteristics,  his  present  ability,  his  po- 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES  27 

tential  (possible  future  development),  and  his  value  in  terms  of 
position  and  team  responsibilities. 

Naturally,  a  coach  wants  to  select  the  best  players.  Like  baseball 
scouts,  most  basketball  coaches  like  to  see  the  potential  members 
of  their  squad  in  action,  in  actual  competition,  in  game  after  game. 
But  that  is  not  always  possible  unless  the  candidates  have  come  up 
through  freshman  or  junior  varsity  basketball,  or  have  played  on 
physical-education,  intramural,  or  other  teams  that  the  coach  has 
had  a  chance  to  watch. 

When  the  coach  has  no  previous  knowledge  of  the  candidate's 
ability  under  fire,  in  game  competition,  he  must  use  other  methods 
of  determining  his  ability.  Practice  scrimmages,  execution  of  drills, 
marksmanship  ability,  and  the  player's  performance  in  three-man 
basketball,  two-on-two,  and  one-on-one  may  help.  Some  coaches 
take  recourse  to  performance  charts.  Offensive  and  defensive  skills 
in  practice  scrimmages  and  games  are  recorded:  shots  attempted 
and  made  from  the  field,  free-throw  accuracy,  offensive  and  de- 
fensive rebounds,  assists,  interceptions,  jump-ball  control  and  re- 
coveries, held  balls,  bad  passes,  fumbles,  violations,  and  personal 
and  technical  fouls. 

Selection  of  the  best  players  is  far  from  being  the  final  step.  Cer- 
tain questions  must  be  applied  even  to  the  best  players:  Can  they 
blend  into  the  style  of  play?  Are  they  teamplayers?  Can  they  effec- 
tively fulfill  your  offensive  and  defensive  assignments?  Do  these 
players  guarantee  the  squad  all-over  strength  in  the  various  de- 
partments of  the  game? 

Eliminating  for  the  moment  the  mental  and  emotional  qualities 
and  concentrating  on  the  skill  side,  I  look  for  the  player  with  good, 
quick  hands  who  can  handle  the  ball  at  full  speed;  who  can  shoot; 
who  possesses  good  footwork;  who  has  good  height,  alertness,  good 
coordination;  and  who  places  the  welfare  of  the  team  ahead  of  per- 
sonal gratification  and  glory. 

Does  that  seem  like  a  lot?  I  guess  it  does,  but  the  coach  can  only 
help  his  players  achieve  such  perfection  by  placing  his  own  basket- 
ball ideals  at  a  high  level. 


28  DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 

It  is  important  to  keep  in  mind  that  it  is  easy  to  make  mistakes 
in  selecting  varsity  players.  The  big,  awkward  kid  who  has  two  left 
feet  may  not  be  ready  right  now,  but  who  can  say  how  far  he  will 
progress  in  another  year.  Much  thought  and  care  should  be  de- 
voted to  maintaining  the  interest  of  such  unsuccessful  candidates. 
I  believe  it  is  only  fair  that  the  coach  talk  privately  with  each  player 
who  is  eliminated  and  assure  him  that  he  is  anxious  for  the  player 
to  maintain  an  interest  in  the  game. 

The  player  should  not  be  misled.  He  should  be  told  wherein  he 
has  failed  and  what  he  can  do  to  correct  his  weaknesses.  The  coach 
can  usually  maintain  the  interest  of  the  unsuccessful  candidate  by 
making  sure  that  he  has  a  chance  to  engage  in  jayvee,  club,  class, 
intramural,  or  some  other  form  of  competitive  basketball.  Some- 
times he  can  be  given  a  job  with  the  team,  such  as  taking  game 
notes,  charting  player  performance  in  scrimmages  and  games, 
scouting,  or  reporting. 

CATCHING  AND  PASSING  THE  BALL 

Handling  the  ball  is  easily  the  most  vital  part  of  basketball  since 
it  covers  catching,  passing,  and  dribbling.  These  three  skills  are  the 
backbone  of  teamwork.  Their  development  is  the  most  important 
task  facing  the  coach. 

Fumbling  and  bad  passing  usually  go  hand  in  hand,  but  loss  of  the 
ball  is  not  always  caused  by  bad  passes.  The  ball  may  be  fumbled 
because  of  incorrect  use  of  the  hands  and  fingers  in  catching.  Fight- 
ing the  ball  (failure  to  let  the  fingers  "give"  as  the  ball  comes  into 
the  hands),  a  poor  body  position,  or  attempting  to  catch  the  ball 
with  the  heels  of  the  hands  are  other  causes  of  fumbles.  Naturally, 
a  high,  low,  hard,  or  poorly  timed  pass  may  also  cause  a  fumble. 
Emotional  elements  also  enter  into  passing.  Quite  often  a  player 
will  lose  his  temper  and  make  a  pass  in  anger.  Some  bad  passes 
may  be  caused  by  carelessness  or  fatigue. 

In  catching  the  ball,  the  hands  should  be  relaxed  and  the  fingers 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES  29 

well  spread  and  pointing  up  or  down,  depending  upon  the  height 
of  the  pass.  The  fingers  and  thumbs,  with  the  aid  of  the  palms, 
should  be  well  cupped.  The  wrists  and  elbows  should  be  free  and 
loose  so  that  the  hands  can  "give"  with  the  ball.  Most  of  the  con- 
tact is  with  the  fingertips.  Many  players  make  the  mistake  of  trying 
to  pass  the  ball  before  they  catch  it;  they  are  not  concentrating  on 
the  ball,  are  failing  to  watch  it  until  it  actually  makes  contact  with 
the  hands.  The  player  should  meet  the  ball  by  advancing  and 
reaching  toward  it.  By  so  doing  he  reduces  somewhat  the  danger  of 
interception  and  is  able  to  keep  his  body  between  the  ball  and  his 
opponent. 

Passing  calls  for  good  hands — not  necessarily  large  hands,  but 
hands  that  through  drills  and  practice  have  developed  "feel." 

Accuracy  is  more  important  than  speed,  although  a  fast  pass  is 
essential  against  good  opponents.  Movement  of  the  ball  should  be 
fast  and  constant  and  all  drills  should  be  directed  toward  this  end. 
Slow,  deliberate  passing  and  holding  up  of  the  movement  of  the 
ball  allow  the  opponents  to  concentrate  through  sagging  and  float- 
ing against  the  point  of  the  attack. 

There  is  no  easy  way  to  develop  passing  skill.  Practice  and  more 
practice  and  drill  after  drill,  day  after  day,  are  necessary.  The  drills 
should  simulate  game  conditions  as  nearly  as  possible.  Keep  in  mind 
that  there  are  different  planes  or  levels  in  passing,  and  include  these 
in  the  practices. 

Good  passers  are  accurate  passers.  The  elimination  of  waste 
motion  in  receiving  or  delivering  the  ball  is  another  earmark  of 
passing  skill.  Good  timing  is  another  important  element  which  the 
good  passer  develops  only  through  constant  drilling. 

The  best  target  in  passing  the  ball  is  probably  between  the  waist 
and  the  shoulders.  A  head-high  pass  causes  the  receiver  to  duck 
and  takes  his  eyes  away  from  a  possible  play  opportunity.  Some  of 
the  important  factors  that  go  into  the  making  of  a  good  passer  are 
as  follows: 

Speed.      Fast  passing  is  important  but  "plugging"  (throwing  the 


30  DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 

ball  too  hard  when  in  close  proximity  to  the  receiver)  is  dangerous. 
Timing  is  essential.  Usually  the  speed  of  the  receiver  determines 
the  speed  with  which  the  ball  should  be  forwarded  to  him.  (The 
ball  travels  about  ten  times  as  fast  as  a  player  can  run  so  there  is 
little  need  of  tremendous  force.) 

Judgment.  Good  passing  ability  is  wasted  if  the  ball  is  not 
passed  at  the  right  time  in  the  right  place  to  the  right  player.  Cer- 
tain passes  are  good  in  certain  play  situations  and  injudicious  in 
others.  A  tall  player  would  be  foolish  to  use  underhand  and  bounce 
passes  (low-plane  or  low-level)  when  guarded  by  a  shorter  op- 
ponent. The  tall  player's  best  passes  in  this  situation  would  be  the 
baseball,  hook,  and  two-hand  overhead  (high-plane  or  high-level) 
passes. 

Deception.  Most  guards  concentrate  upon  the  ball,  so  the 
passer  should  employ  some  sort  of  deception.  He  should  avoid 
making  all  his  passes  on  the  same  plane  or  level.  It  is  possible  to 
watch  the  opponent  and  pass  over,  around,  or  under  his  hands. 
Changing  the  plane  or  level  of  the  pass  will  usually  assure  a  safe 
delivery  of  the  ball.  In  this  connection,  it  is  wise  to  pass  to  the  left 
of  right-handed  players  and  to  the  right  of  left-handed  players. 

Split  vision.  This  is  difficult  to  teach.  Some  players  seem  to 
come  by  the  ability  naturally.  Most  players  feel  that  they  must  look 
directly  at  their  teammates;  others  go  to  the  opposite  extreme — 
they  look  away  and  execute  disastrous  blind  passes.  The  player 
should  be  impressed  with  the  fact  that  depth  and  marginal  vision 
will  enable  him  to  see  his  receivers  clearly.  The  player  who  con- 
tinues to  have  trouble  catching  or  passing  the  ball  after  extensive 
practice  should  be  checked  for  visual  deficiencies.  Faulty  vision  is 
not  nearly  so  important  in  shooting  as  it  is  in  catching  the  ball. 
Players  who  use  peripheral  vision  and  can  keep  a  "poker  face" 
before,  during,  and  after  a  pass  have  a  tremendous  passing  ad- 
vantage. 

There  is  a  pass  for  every  play  situation.  Whether  or  not  the  play 
will  succeed  depends  upon  the  position  in  which  the  player  catches 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES  31 

the  ball  and  upon  his  ability  to  shoot  or  to  pass  it  on  to  a  team- 
mate. At  this  point,  the  type  of  pass  becomes  vital. 

Good  passers  are  able  to  eliminate  waste  motion.  So,  in  my 
drills,  I  try  to  equip  the  players  with  passes  that  will  enable  them 
to  immediately  release  the  ball  in  the  plane  or  level  at  which  it  has 
been  received.  In  my  fundamental  practices  I  adapt  various  passes 
to  each  drill  so  that  the  players  will  be  prepared  to  release  the  ball 
quickly  and  accurately  from  any  position. 


THE  PASSES 

The  two-hand  chest  pass.  The  chest  or  "snap"  pass  can 
probably  be  regarded  as  the  basic  pass  in  basketball.  It  usually  ac- 
companies the  rapid  movement  of  the  ball  such  as  is  found  in  the 
give-and-go,  weave,  roll,  and  pattern  attacks.  Although  some  play- 
ers possess  sufficient  strength  to  snap  the  ball  considerable  distances, 
the  snap  is  used  most  efficiently  when  the  distance  does  not  exceed 
20  feet.  The  hands  are  placed  on  the  sides  of  the  ball  with  the 
thumbs  and  fingers  spread  to  cover  as  much  of  the  surface  as  pos- 
sible. The  ball  is  released  with  a  flip  or  snap  of  the  wrists,  elbows, 
and  fingers,  producing  a  reverse  spinning  motion  as  the  thumbs  are 
snapped  under  and  through.  The  best  point  of  release  is  between 
the  hips  and  the  shoulders. 

The  two-hand  snap  pass  is  easy  to  teach,  adapts  itself  quickly  to 
feinting  and  faking,  and  affords  maximum  protection  of  the  ball. 
Strong  wrists  and  fingers  are  important  to  proficiency,  and  the 
daily  use  of  medicine  balls  is  an  excellent  strengthening  medium. 

The  bounce  pass.  This  pass  is  similar  to  the  snap  pass  but  is 
thrown  on  a  different  plane.  It  is  not  safe  for  a  great  distance  and 
must  be  kept  close  to  the  floor.  A  high  bounce  pass  is  slow  and 
easy  to  intercept.  The  ball  should  be  snapped  down  and  out  and 
aimed  to  hit  the  floor  as  close  to  the  teammate  as  possible.  Whether 
the  pass  is  made  with  one  or  two  hands  makes  little  difference,  but 
some  sort  of  a  preliminary  fake  aids  in  its  effectiveness. 


32  DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 

The  bounce  pass  is  particularly  effective  against  zone  chasers 
and  in  feeding  the  ball  to  a  pivot  player.  The  one-hand  bounce 
pass  is  easy  to  get  to  the  pivot  player  when  it  is  preceded  by  a  long 
cross-over  step  with  the  leg  opposite  the  throwing  hand. 

Back-bounce  passes  are  used  in  the  give-and-go  attack  following 
a  dribble,  and  by  post  and  pivot  players  in  feeding  cutters.  The 
one-  or  two-hand  back-bounce  pass  is  excellent  in  setting  up  a 
screen  for  a  set  shot  by  a  teammate  or  to  give  him  a  post  around 
which  to  dribble.  A  long  one-hand  bounce  pass  is  also  useful  in 
feeding  a  teammate  who  executes  a  change-off  and  drives  for  the 
basket;  it  is  often  effective,  too,  against  the  press. 

The  overhead  pass.  The  overhead  pass  is  a  favorite  weapon 
of  the  pros.  It  is  fast,  and  its  high  plane  makes  it  almost  impossible 
for  the  opponent  to  stop  it.  The  ball  should  be  held  high  above  the 
head  and  propelled  chiefly  with  the  wrists.  Pivot  and  post  players 
often  use  this  in  connection  with  the  turnaround  play,  and  its  use 
as  a  medium  to  feed  a  pivot  man  near  the  basket  is  universal. 

The  hook  pass.  This  pass  used  to  be  one  of  the  favorite 
passes  in  the  game.  It  is  still  one  of  the  best  passes  with  which  to 
initiate  the  fast  break  following  a  rebound  from  the  defensive 
board.  It  is  effective  in  feeding  the  pivot  and  is  a  fine  pass  to  use 
when  closely  pressed  by  an  opponent.  Most  tall  players  are  expert 
in  the  use  of  this  pass. 

The  hook  pass  can  be  made  from  the  floor  or  while  in  the  air. 
As  with  all  passes,  it  is  best  to  start  it  from  a  crouch.  A  slight  turn 
of  the  body  accompanied  by  a  forward  step  is  important  in  stressing 
accuracy.  The  step  and  the  half  turn  also  aid  in  confusing  the  de- 
fensive opponent  and  in  protecting  the  ball.  The  ball  is  held  with 
the  fingers  widely  spread;  and  if  it  cannot  be  held  with  the  fingers 
alone,  it  may  be  rested  against  the  wrist  and  forearm.  The  arm 
must  be  fully  extended  before  the  ball  is  released  from  the  finger- 
tips. 

The  baseball  pass.  This  pass  is  a  "must"  when  speed  and 
distance  must  be  combined.  It  is  an  excellent  outlet  pass  in  the  fast 
break,  and  all  rebounders  should  be  expert  in  its  use.  Strangely 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES  33 

enough,  most  basketball  players  find  this  a  difficult  pass  to  control. 
Timing  and  the  elimination  of  a  curve  are  important. 

The  ball  should  be  released  with  an  elbow  and  wrist  and  finger 
action  similar  to  the  technique  employed  by  a  baseball  catcher  in 
throwing  to  second  base.  The  ball  is  brought  quickly  behind  the 
ear  and  released  on  a  high  plane.  The  thrower  must  follow  through 
to  insure  absolute  accuracy  since  the  ball  oftentimes  soars  out  of 
bounds. 

Back-flip  passes.  These  passes,  made  with  one  or  two  hands, 
are  important  in  almost  every  type  of  offense.  Proper  use  requires 
much  practice  since  the  passer  is  facing  away  from  the  receiver. 
The  ball  is  released  from  the  fingertips  and  the  follow-through  is 
exaggerated  for  purposes  of  control.  The  one-  and  two-hand  flips 
may  be  made  around  the  back,  over  the  shoulder,  or  straight  back 
beside  the  hip.  The  around-the-back  pass  is  not  a  trick  pass.  It  is 
used  by  many  sound  players  when  they  are  so  closely  guarded  they 
cannot  shoot  or  make  an  ordinary  pass.  A  teammate  may  be  ap- 
proaching on  the  other  side  of  the  guard  entirely  free,  and  an 
around-the-back  flip  or  bounce  pass  may  lead  to  a  score.  Further, 
when  the  player  is  closely  pressed,  the  around-the-back  pass  may 
eliminate  a  held  ball.  Here,  as  with  the  hook  pass,  the  fingers  must 
be  widely  spread  and  the  ball  may  be  supported  by  the  wrist  and 
forearm. 

The  forward  flip  (bowling  pass).  This  pass  is  very  quick 
and  the  ball  may  be  released  almost  as  soon  as  it  is  caught.  The 
pass  is  made  with  one  or  two  hands  and  is  thrown  or  flipped  on  a 
low  plane  from  the  fingertips. 

Cross-face  and  cross-body  passes.  These  passes  are  fast 
and  are  vital  to  a  good  passing  team.  They  are  thrown  from  the 
fingertips  while  the  player  is  moving  at  full  speed  and  are  im- 
portant because  of  that  fact.  Some  players  develop  such  fine  dex- 
terity with  these  passes  that  the  hands  seem  to  barely  touch  or  slap 
the  ball  in  guiding  it  to  a  teammate. 

The  lob  pass.  This  pass  is  used  when  it  is  necessary  to  give  a 
cutter  time  to  reach  the  ball  (a  long  lead).  Some  players  use  a  lob 


34  DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 

pass  when  an  opponent  is  playing  in  front  of  the  pivot  player.  It  is 
usually  released  like  a  two-hand  set  shot  and  is  executed  softly  and 
with  a  minimum  of  spin. 

The  jump  pass.  This  pass  should  be  used  only  when  the 
passer's  receiver  is  free  and  it  is  necessary  to  leap  in  the  air  in  order 
to  get  the  ball  away.  An  exception  may  be  noted  here  in  the  case 
of  tall  players  who  use  the  pass  effectively  following  a  defensive  re- 
bound, getting  it  into  play  by  passing  while  they  are  in  the  air. 

The  fake-shot  pass.  This  is  an  extremely  deceptive  pass.  It 
is  effectively  used  when  a  teammate's  guard  switches  to  stop  the 
apparent  shot  or  when  a  teammate's  opponent  leaves  his  defensive 
position  to  block  out  or  retrieve  the  expected  rebound.  This  pass  is 
often  made  from  the  air  following  a  fake  jump  shot.  The  two-hand 
set  shot  often  lends  itself  to  this  type  of  pass. 


-f 


PASSING  TIPS 
1 

Keep  two  hands  on  the  ball  so  that  you  can  shoot,  dribble,  or 
pass.  Maintain  good  body  balance  and  be  a  threat.  Never  bounce 
the  ball  to  gain  thinking  time. 

2 

Use  fingertip  control  and  a  strong  wrist  snap,  and  be  sure  to 
follow  through  on  all  passes. 

3 

Keep  in  mind  that  the  passer  is  responsible  for  the  success  of 
the  pass  (and  for  interceptions  by  opponents). 

4 
Know  your  teammates'  voices  and  be  ready  to  pass  to  them  if 
they  are  free. 

5 

Meet  the  ball  and  make  no  waste  motions  in  changing  the  plane 
of  your  following  pass. 

6 

Don't  "telegraph"  your  passes  (maintain  a  poker  face  and  focus 
your  eyes  ahead  so  you  can  use  peripheral  vision). 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES  35 

7 

Don't  use  "blind"  passes  (looking  one  way  and  passing  in  the 
opposite  direction). 

8 

Vary  your  passes  and  utilize  all  passing  planes.  Master  feints 
and  fake  passes. 

9 

Don't  hold  up  the  ball.  Keep  it  moving  and  keep  cutting. 

10 
■~-}-      Don't  force  passes,  and  never  use  fancy  passes. 

11 
The  pass  and  your  cut  should  be  simultaneous  (give-and-go). 

12 

Concentrate  on  "leading"  the  cutter  and  be  sure  that  he  receives 
the  ball  in  the  proper  plane  (shooters  should  be  given  a  high 
pass  when  possible). 

13 

"T"     Watch  your  teammate's  opponent  and  pass  away  from  him  (par- 
ticularly when  feeding  the  pivot  player  near  the  basket). 

14 

-4-      Eliminate  low  passes  when  possible  (they  are  difficult  to  handle). 
Long  passes  should  be  head-high  or  higher. 

15 

Pass  under  big  men  (bounce  passes  and  fast  underhand  flips)  and 
over  small  men  (baseball,  hook,  two-hand  overhead). 

16 

Be  careful  in  using  lob  passes  (they  are  easily  intercepted). 

17 
Never  pass  to  a  teammate's  back  or  when  he  cannot  see  the  ball. 

18 

Never  pass  the  ball  across-court  in  front  of  the  opponents'  basket. 
Be  extremely  careful  in  passing  the  ball  laterally  across  the  court 
at  any  time. 


The  Bounce  Pass 


The  passer  holds  the  ball  as  in  the  chest  pass,  between  the  belt 
and  the  chest,  with  the  fingers  well  spread  on  the  ball.  He  looks 
straight  ahead,  deadpan,  and  snaps  the  ball  down  and  out.  (Note 
the  position  of  the  hands  and  fingers  at  the  finish.) 


3. 


8 


The  Overhead  Pass 


The  ball  is  held  in  the  same  standard  position  and  is  lifted  above 
the  head.  It  is  propelled  forward  at  a  high  level  with  a  forward  and 
outward  motion.  (Note  the  position  of  the  hands  at  the  finish.) 


^3pSfttMfli 


F 

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9 


The  Hook  Pass 

The  hook  pass  is  best  used  when  the  player  is  facing  forward 


::&-         ;: 


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and  propels  the  ball  sideways.  In  this  case,  the  player  is  facing 
forward  and  is  attempting  a  forward  hook  (a  difficult  pass).  (Note 
the  wide  back  arc  and  the  finish  of  the  hand. ) 


The  Baseball  Pass 


The  ball  should  be  brought  up  beside  the  ear  and  thrown  like  a 
catcher's  peg.  (Note  the  finish  of  the  throwing  hand.) 


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The  Back-Flip  Pass 


These  back-flip  passes  may  be  made  with  one  or  two  hands. 
Here,  the  player  has  faked  forward  and  then  snapped  the  ball  back 
with  one  hand.  The  left  hand  is  used  for  protection,  as  the  right 
executes  the  pass. 


■ 


Back-Bounce  Pass 


The  player  starts  a  forward  dribble.  On  the  rise  of  the  first 
bounce  the  ball  is  bounced  back  with  the  right  hand.  The  passer 
holds  his  position  without  moving  in  case  the  receiver  wishes  to 
use  him  for  a  shooting  screen  or  as  a  post  around  which  to  dribble. 


hir^sr^SSSsr^r^ 


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Over-Shoulder  Pass 


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v-nr 


The  passer  again  starts 
a  dribble.  This  time  he 
retrieves  the  ball  with 
two  hands  and  flips  it 
back  over  his  shoulder. 
This  is  the  best  back 
pass  to  use  when  you  are 
setting  up  the  receiver 
for  a  one-  or  two-hand 
set-shot. 


One-Hand  Cross-Over  Bounce  Pass 


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This  is  an  excellent  pass  to  use  to  feed  a  post  or  pivot  player  who 
has  secured  a  good  position.  The  passer  here  crosses  his  left  leg 
in  front  of  his  right  to  protect  the  ball  and  then  passes  under  his 
extended  left  arm.  (Note  the  spread  of  the  fingers.) 


52  DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 


FOOTWORK 

The  starting  point  for  the  development  of  offensive  footwork  is 
in  good  body  balance  with  the  center  of  gravity  slightly  forward. 
The  knees  must  be  maintained  in  a  slightly  bent  position  and  the 
heels  should  be  lifted  slightly  from  the  floor.  The  feet  should  be 
spread  approximately  the  width  of  the  player's  shoulders  with  one 
ahead  of  the  other  in  a  stance  somewhat  like  that  used  by  present- 
day  football  players. 

After  this  start,  the  player  should  learn  to  stop  without  a  jump 
or  a  hop.  This  is  difficult  to  teach,  but  since  it  is  a  vital  part  of  foot- 
work, the  coach  should  spend  considerable  time  in  drilling  the 
players  to  stop  with  one  foot  or  the  other  in  an  advanced  position. 
The  player  then  brings  the  rear  foot  forward  as  close  to  the  floor 
as  possible  so  that  there  is  a  decided  squeal  of  the  shoes  on  the 
floor.  The  body  should  be  in  a  crouched  position  with  the  knees 
bent  and  flexible. 

In  my  opinion,  the  use  of  the  head  and  shoulders  is  the  secret  in 
teaching  the  pivot.  Drilling  the  squad  by  advancing  first  with  one 
foot  extended  and  then  swinging  the  other  forward  or  to  the  rear, 
on  command,  with  a  good  head-and-shoulder  turn  will  help  in 
teaching  this  important  skill.  After  the  members  of  the  squad  have 
been  taught  the  stop  and  the  forward  and  rear  pivot,  I  like  to  pair 
up  the  players  in  a  "one-on-one"  drill.  The  player  in  possession  of 
the  ball  uses  the  stop  and  the  various  turns  and  pivots  to  protect  it 
from  the  defensive  player.  Placing  a  premium  on  possession  will 
bring  out  the  best  qualities  of  the  paired  players. 


Pivot 


Execution  of  the  pivot  and  a  reverse  cut  is  shown  here.  Advanc- 
ing from  the  side  of  the  court,  the  cutter  throws  a  hard  cut  with 
the  left  foot  advanced.  Then,  using  his  right  foot  as  the  pivot,  he 
reverses  and  cuts  for  the  basket.  (Note  the  readiness  of  the  hands 
as  the  cutter  drives  for  the  basket. ) 


I 


Pivot 
(continued) 


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r 


Change-of-Direction 


The  change-of-direction  is  well  executed  here.  The  cutter  starts 
to  his  left,  stabbing  his  left  foot  hard  into  the  floor.  He  shoves  off 
with  this  foot  (left)  and  brings  his  right  foot  forward  and  to  the 
right.  (Note  that  this  is  a  short  step.)  The  left  follows  the  right  in  a 
long,  cross-over  stride. 


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Fake  Left  Drive  Right 


The  dribbler  fakes  left 
with  a  movement  of  the 
ball  and  his  left  foot  in 
that  direction.  Then  he 
stabs  the  left  foot  hard  and 
uses  a  cross-over  to  the 
right  with  the  same  leg  to 
protect  the  ball  as  he  drib- 
bles to  the  right.  (Note 
the  lowered  left  shoulder 
and  the  position  of  the 
body  over  the  ball.) 


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Double  Fake 


The  dribbler  first  fakes  right  by  bringing  the  ball  and  left  leg 
across  in  front  of  the  defensive  player.  He  then  shoves  hard  with 
the  left  foot  to  push  his  body  back  to  the  left.  The  stride  back  to 
the  left  with  the  left  foot  is  short  but  strong  enough  to  give  him  a 
push  back  to  the  right.  The  cross-over  with  the  right  foot  is  used  to 
protect  the  ball  on  the  drive  to  the  basket. 


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Fake  Right  Go  Right 


The  dribbler  here  fakes  a  drive  to  the  right  by  a  cross-over  with 
his  left  foot  and  a  fake  of  the  ball.  He  then  stops  and  throws  his 
head  and  shoulders  back,  feinting  a  drive  to  the  left.  Almost  im- 
mediately, he  pushes  off,  first  with  the  right  foot  and  then  hard 
with  the  left  as  he  drives  for  the  basket.  (Note  the  body  position 
and  the  protection  of  the  ball.) 


64  DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 

THE  DRIBBLE 

Not  too  many  years  ago  the  value  of  the  dribble  was  a  moot 
question.  Today  all  players  and  all  teams  consider  the  dribble  im- 
portant and  it  is  used  in  varying  degrees  in  all  styles  of  play.  Drib- 
bling now  has  advanced  to  the  stage  where  it  is  second  nature  to 
players  and  is  used  as  freely  as  the  pass.  Naturally,  a  player  can 
dribble  too  much.  Most  of  the  attention  in  basketball  is  centered 
around  the  ball  and  many  players  take  advantage  of  the  fact  to 
attract  attention  to  themselves.  Some  players  get  into  the  habit 
of  bouncing  the  ball  every  time  they  receive  it,  thus  slowing  up  the 
offense  and  ruining  their  own  chances  of  advancing  with  the  aid 
of  the  dribble. 

Moving  the  ball  through  passing  is  much  more  rapid  and  effec- 
tive than  by  means  of  the  dribble.  Players  should  be  taught  that  the 
dribble  has  its  place  only  in  certain  aspects  of  the  game  such  as  in 
the  slow  advance  from  the  rear  court;  in  the  fast  break;  when  a  pass 
is  impossible  or  dangerous;  in  driving  for  the  basket  when  the 
dribbler  has  a  clear  path;  in  freezing  the  ball  or  in  the  stall  attack; 
in  meeting  the  press;  in  dribbling  out  of  trouble;  and  in  evading 
an  overaggressive  guard. 

Players  now  are  expected  to  dribble  equally  well  with  the  right 
and  left  hands  and  to  shield  the  ball  with  the  body  and  the  leg 
away  from  their  opponents.  The  good  dribbler  has  been  trained  to 
keep  his  hand  hovering  over  the  ball  and  to  keep  it  bouncing  below 
the  knee  for  control  and  just  below  belt  height  when  he  desires 
speed.  The  hands  with  the  hovering  fingers  ride  with  the  ball  in- 
suring control.  The  dribbler  also  keeps  his  head  up  so  that  he  can 
see  his  teammates  and  opponents  in  front  and  to  each  side. 

A  good  dribbler  is  a  master  of  the  fake  in  one  direction  followed 
by  a  drive  in  the  opposite.  Thus,  he  can  fake  right  and  go  left,  and 
vice  versa.  Double  fakes  are  those  in  which  the  dribbler  fakes 
right,  left,  and  goes  right,  or  vice  versa.  Another  good  fake  might 
be  termed  the  "hesitation."  In  this  maneuver,  the  dribbler  fakes  in 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES  65 

a  direction,  hesitates,  and  then  he  continues  in  the  same  direction. 

Most  high  scorers  are  experts  with  a  forward  foot-and-ball  fake 
followed  by  a  long  backward  step.  This  action  provides  time  for  a 
one-  or  two-hand  set,  or  a  jump  shot. 

The  "trap"  (bringing  the  hand  down  to  meet  the  ball  on  the 
"up"  bounce,  thus  trapping  the  ball  and  forcing  it  back  to  the 
floor)  is  a  necessary  weapon  of  the  expert  dribbler.  This  move 
changes  the  height  of  the  bounce  and  thwarts  efforts  of  the  opponent 
to  intercept  the  ball.  This  control  is  absolutely  necessary  when  the 
dribbler  is  opposed  by  a  hustling,  aggressive  ball  hawk. 

Following  the  trap,  expert  dribblers  often  use  "double-time"  by 
keeping  the  dribbling  hand  at  the  low  level  and  continuing  to  force 
the  ball  to  take  short  bounces  until  it  fairly  beats  a  tattoo  on  the 
floor.  This  is  a  precautionary  measure  and  should  be  discontinued 
as  soon  as  the  emergency  is  overcome. 

A  change  of  direction  while  dribbling  the  ball  requires  good 
footwork  and  expert  hand  action.  This  change-over  is  dangerous 
because  of  the  brief  interval  during  which  the  ball  passes  directly 
in  front  of  the  defensive  player.  This  interval  occurs  while  the  ball 
is  being  shifted  from  one  hand  to  the  other.  The  dribbler  should 
fake  a  hard  dribble  in  one  direction,  stab  the  foot  farthest  from  the 
ball  hard  against  the  floor,  and  then  execute  a  simultaneous  cross- 
over with  ball  and  leg.  This  results  in  the  change  of  direction  and 
transfers  the  ball  to  the  control  of  the  opposite  hand.  Some  players 
accomplish  the  same  result  by  snapping  the  ball  under  the  near  leg 
and  to  the  opposite  hand  while  traveling  at  high  speed. 

The  reverse  dribble  is  important  when  the  dribbler  is  suddenly 
met  by  a  charging  defensive  player.  It  enables  the  dribbler  to  throw 
a  stop  and,  with  the  use  of  the  trap,  check  the  forward  progress  of 
the  ball.  He  then  uses  double-time  to  retreat. 

DRIBBLE  TIPS 

1 

Know  the  place  of  the  dribble   in  your  team's  offense.   Use   it 
judiciously.  The  pass  ranks  first  in  teamplay. 


66  DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 


Do  not  slap  at  the  ball.  Keep  your  hand  close  to  the  ball  and 
push  it  to  the  floor. 


Don't  wait  for  the  coach  to  teach  you  to  dribble.  Work  at  home 
and  at  every  opportunity  to  improve  your  skill. 


Use  a  belt-high  bounce  for  dribbling  speed,  and  keep  the  ball 
below  knee-level  for  control  and  deception. 


Don't  be  a  Fancy  Dan.  Don't  show  off  with  fancy  passing  and 
dribbling. 


The  "trap"  is  used  chiefly  for  protection.  But  it  can  also  be  used 
as  a  change-of-pace  measure.  Other  change-of-pace  methods 
are  to  slow  down  or  speed  up  your  drive. 


Fake  with  your  head,  eyes,  and  body  when  dribbling  to  add  to 
the  defensive  pressure  on  your  man. 

8 

Remember  that  you  can  use  the  dribble  to  screen  for  your  team- 
mates. And  don't  forget  to  give  them  the  ball  when  they  take  ad- 
vantage of  the  screen.  Further,  be  quick  to  use  the  dribble  to  drive 
for  a  score  when  a  teammate  sets  up  a  screen  for  you  behind 
your  opponent. 


Don't  try  to  dribble  through  a  mass  of  players.  Stop  or  pivot 
and  get  the  ball  safely  to  a  teammate. 

10 

When  advancing  to  your  front  court  with  a  slow  dribble,  be  sure 
you  are  not  being  closely  followed  by  an  opponent  who  may 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES  67 

steal  the  ball.  Dribbling  on  an  angle  helps  in  locating  possible 
interceptors. 


FAKES  AND  FEINTS 

One  dictionary  defines  a  fake  as  an  act  "to  make  it  appear  dif- 
ferent." The  same  dictionary  defines  a  feint  as  "a  pretense  of  at- 
tack at  one  point  while  really  attacking  another."  In  my  coaching, 
I  like  to  think  of  a  fake  as  applying  to  the  feet,  hands,  and  the  ball, 
and  to  consider  a  feint  as  a  deceptive  movement  of  the  eyes,  head 
and/ or  body. 

An  offensive  player  may  fake  with  his  feet  with  or  without  the 
ball.  Faking  with  the  feet  while  facing  the  basket  and  without  the 
ball  is  limited  to  sudden  stops,  change  of  pace,  change  of  direc- 
tion, and  all  kinds  of  turns  and  pivots.  Faking  in  a  back-up  posi- 
tion (back  to  the  basket)  consists  of  holding  position  with  a  pivot 
foot  and  stepping  in  another  direction  with  the  other  foot  to  draw 
the  opponent  off  balance  so  that  the  attacking  player  may  whirl 
to  the  actual  point  of  attack. 

Any  number  of  fakes  are  possible  with  the  hands  and  the  ball 
whether  facing  the  basket  or  in  a  back-up  position. 


ball-and-foot  fake 

Probably  one  of  the  best  ball-and-foot  fakes  is  one  that  was  de- 
veloped and  exploited  by  Paul  Arizin,  one  of  the  leading  college 
and  professional  players  in  the  past  decade.  In  this  fake,  Arizin 
brought  the  ball  down  fast  to  a  dribbling  position  and  faked  left 
and  right.  Then  he  raised  the  ball  slowly  and  appeared  to  relax. 
Suddenly,  he  carried  the  ball  down  with  lightning  speed  and  drib- 
bled right  or  left.  It  was  an  excellent  maneuver  and  paid  big  divi- 
dends with  many  easy  baskets. 


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Change  of  Direction  Dribble 


rp 


r"^^ 


Dribbler  fakes  left  with  ball 
and  left  foot.  Right  foot  holds 
position.  The  fake  left  dribble 
is  made  with  the  left  hand.  As 
the  ball  starts  its  upward  re- 
bound, the  -dribbler  traps  the 
ball  with  the  left  hand  and  flips 
it  to  the  right  as  the  left  foot 
crosses  over.  The  right  foot 
has  not  moved.  The  right  foot 
comes  up  slightly  as  the  right 
hand  takes  control  of  the  ball 
for  the  dribble  to  the  basket. 


HMMMNI 


Player  with  the  ball  fakes  a  set  shot  and  watches  to  see  which 
arm  opponent  will  raise  to  stop  the  shot.  In  this  case,  the  opponent 
raises  his  left  arm  and  the  player  with  the  ball  (40)  brings  the 
ball  down  following  the  fake  and  at  the  same  time  crosses  over 
with  the  left  foot  and  drives  hard  for  the  basket.  (Note  the  long 
cross-over  stride  with  the  left  foot  and  the  crouched  position  of 
the  body  to  protect  the  ball.) 


Up-and-Under  Dribble 


Right-Hand 
Dribble 


Left-Hand 
Dribble 


74  DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 


dummy  play 

This  play  is  an .  important  part  of  offensive  basketball;  every 
player  should  be  able  to  use  it  when  he  outruns  or  outmaneuvers 
his  opponent.  It  should  be  coached  until  the  player  performs  the 
deception  to  perfection.  The  dummy  play  is  employed  when  an 
offensive  player  cuts  or  maneuvers  so  that  his  opponent  has  his 
back  to  the  ball.  Then  the  cutter  plays  "dummy"  by  slowing  down, 
dropping  his  arms,  and  pretending  he  does  not  expect  the  ball. 
The  passer  then  passes  the  ball  to  the  cutter  (usually  over  the  head 
of  the  defensive  player) . 


fake  drive  and  shot 

Driving  fakes  to  set  up  shot  opportunities  are  designed  to  get 
the  defensive  player  off  balance  and  force  him  back  to  make  room 
for  the  shot. 


fake  shot  and  drive 

The  fake  shot  is  designed  to  draw  the  defensive  player  closer 
and  to  get  him  to  raise  up  to  stop  the  shot.  Then  the  offensive 
player  may  drive  around  him  (driving  under  the  defensive  player's 
raised  arm  when  possible). 

Many  players  execute  their  fakes  and  feints  properly  enough 
but  they  fail  to  allow  time  for  the  defensive  player  to  "fall"  for  the 
deception.  Following  the  fake  or  feint  too  quickly  with  the  actual 
drive  or  shot  may  mean  that  the  deception  is  wasted.  Triple  fakes 
usually  fail  because  the  defensive  player  has  been  warned  by  the 
first  move. 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES  75 


JUMPING 

Before  the  elimination  of  the  center  jump  following  a  score,  the 
big  man  was  invaluable  in  getting  possession  of  the  ball  for  his 
team.  When  this  jump  was  eliminated,  it  was  generally  believed 
that  the  value  of  the  big  man  had  diminished.  This  was  quickly 
disproved;  in  fact,  the  big  man  has  become  even  more  important. 
It  is  not  implied  here  that  a  taller  player  will  guarantee  possession 
in  jump-ball  situations,  but  he  certainly  has  the  advantage.  Natu- 
rally, the  big  man's  importance  does  not  end  with  the  jump  ball. 
His  rebound  value  under  the  offensive  and  defensive  boards  can- 
not be  overlooked — to  say  nothing  of  his  scoring,  feeding,  screen- 
ing, blocking,  and  general  defensive  value. 

The  number  of  jump-ball  situations  in  a  game  varies.  However, 
it  is  pertinent  here  to  say  that  there  are  enough  to  make  the  dif- 
ference in  winning  or  losing  a  close  game. 

Jump-ball  situations'  which  concern  the  center  occur  at  the  start 
of  the  game,  at  the  quarter,  at  the  half,  and  at  the  beginning  of  an 
overtime  period.  The  tall  center  should  be  able  to  break  even  on 
these.  However,  this  is  only  a  part  of  the  problem.  Held-ball  situa- 
tions occur  during  the  regular  play  of  the  game  and  the  participants 
in  the  particular  held-ball  situation  must  do  the  jumping.  Thus,  it 
is  important  that  every  member  of  the  squad  be  able  to  jump  and 
do  his  part  in  obtaining  the  ball  for  his  team  in  the  held-ball  situ- 
ations. 

Getting  possession  of  the  ball  depends  upon  a  number  of  items 
which  are  more  or  less  related.  First  comes  the  leaping  and  timing 
ability  of  the  jumper.  Then,  the  leaping  ability  of  his  opponent. 
Next,  some  sort  of  signal  is  necessary  to  indicate  the  direction  of 
the  tap  and  the  receiver,  the  type  of  tap  (long  or  short),  the  block- 
ing (if  any),  and  the  play.  Not  the  least  matter  of  importance  is 
the  manner  in  which  the  official  tosses  up  the  ball. 


76  DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 

Jump-  and  held-ball  plays  are  discussed  and  illustrated  later  in 
this  book.  The  concern  at  the  moment  is  in  developing  the  jump- 
ing ability  of  the  player.  Special  exercises  such  as  knee  bends,  rope 
jumping,  tapping  the  ball  up  against  the  backboard  again  and 
again  without  permitting  it  to  come  to  rest  in  the  hands,  various 
types  of  dunking,  and  other  leaping  competition  will  help.  Chart- 
ing each  player's  leap  from  day  to  day  by  means  of  wall  marks 
and  charts  will  insure  steady  progress. 

Tall  players  should  develop  dunking  ability.  They  should  be 
able  to  flip  the  ball  through  the  hoop  with  one  or  two  hands  (fac- 
ing or  with  back  to  the  basket)  and  should  master  the  flip  of  two 
balls  simultaneously  through  the  hoop.  (A  ball  is  held  in  each 
hand  and  the  try  is  made  from  a  standing  position  followed  by  a 
leap  and  a  one-two  count  for  the  release  of  the  balls.)  To  dunk 
accurately  and  consistently,  the  player  must  be  able  to  hold  the 
ball  in  one  hand  and,  with  the  arm  fully  extended,  use  the  wrist 
to  flip  the  ball  down  through  the  hoop  with  the  fingertips.  Smaller 
players  who  have  large  hands  and  possess  a  good  leap  often  dunk 
consistently. 

The  "spread-eagle"  drill  used  in  developing  rebounding  form  is 
excellent  in  developing  body  control  and  leaping  ability.  The  player 
leaps  high  in  the  air  and  spreads  his  legs  as  far  apart  as  possible. 
At  the  same  time,  he  extends  his  arms  so  that  he  can  touch  his 
toes  with  the  fingers  of  each  hand. 


TIPS  FOR  THE  JUMPER 

1 

Be  sure  you  have  the  signal  before  you  move  into  the  jumping 
circle.  Do  not  give  the  play  away  by  looking  at  the  receiver  or 
toward  the  point  to  which  the  ball  will  be  directed. 


Enter  the  circle  swiftly  and  get  set  immediately.  Then,  concen- 
trate on  the  ball  (beware  of  false  movements  by  your  opponent 
or  by  the  official).  Do  not  move  or  relax  your  jumping  position 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 


77 


as  long  as  the  official  is  in  the  toss-up  position.  Keep  your  eye  on 
the  ball  until  "after"  your  fingers  have  directed  it  to  the  proper 
receiver  at  the  proper  point. 


Remember  the  height  to  which  the  official  has  tossed  the  ball  for 
a  previous  jump.  Timing  is  vital,  and  leaping  too  early  or  too 
late  means  loss  of  the  tap.  Plan  your  leap  so  that  you  will  leave 
the  floor  just  before  the  ball  reaches  its  maximum  height. 


Light  and  go!  Beat  your  opponent  to  the  punchl  If  your  tap  has 
been  successful  and  a  teammate  secures  the  ball,  drive  immedi- 
ately to  a  scoring  position.  If  the  tap  is  lost,  check  your  opponent 
and  get  info  a  good  defensive  position. 


Be  prepared  for  a  second  tap  should  the  first  end  in  a  stalemate 
or  be  deflected.  Light  quickly  and  be  fully  prepared  to  go  get 
the  ball  for  your  team. 


OFFENSIVE  REBOUNDING 


The  offensive  rebounder  is  handicapped  because  a  defensive  op- 
ponent usually  has  the  inside  position.  However,  he  does  have  one 
or  two  slight  advantages  such  as  knowledge  of  his  team's  scoring 
plays  and  his  teammates'  shooting  spots  and  habits.  He  should 
make  some  sort  of  offensive  move  just  as  soon  as  he  senses  that 
a  teammate  is  going  to  attempt  a  shot.  This  may  enable  him  to 
drive  into  a  good  rebounding  position  before  his  guard  is  aware 
that  a  shot  is  going  to  be  attempted. 

When  it  is  impossible  to  sense  the  shot  and  the  defensive  oppo- 
nent gets  a  good  blocking  position,  the  attacking  player  should 
drive  for  a  different  position  in  an  attempt  to  slide  past  a  differ- 
ent opponent.  The  offensive  rebounder  may  sometimes  use  a  spin 
and  leg  thrust  to  gain  a  position  beside  the  defensive  player.  When 
body  contact  results  because  of  maneuvering,  it  may  be  possible 


78  DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 

to  put  pressure  on  the  side  of  the  defensive  player  away  from  the 
point  of  attack  and  follow  a  sudden  release  of  the  pressure  by  a 
sudden  move  in  the  opposite  direction. 

CUTTING 

Basketball  is  essentially  a  game  of  motion.  The  ability  to  start 
quickly,  stop  suddenly,  dodge,  change  direction,  and  use  a  change 
of  pace  marks  the  basketball  player  who  is  a  good  cutter.  Cutting 
and  screening  are  similar  in  nature  but  have  different  objectives. 
The  cutter  drives  for  the  basket  with  the  expectation  of  receiving 
a  quick  pass  for  a  score.  The  screener  attempts  to  set  a  teammate 
free  for  a  cut  or  a  dribble  for  the  basket  by  screening  or  blocking 
the  teammate's  defensive  opponent. 

A  cutter's  ability  to  start  quickly  is  tremendously  important.  He 
must  maintain  alertness  of  mind  and  perfect  control  of  the  body 
so  that  it  will  be  well  balanced  and  under  such  control  that  the 
player  may  drive  in  any  direction.  Since  he  has  no  control  over 
the  way  he  will  be  played  by  his  guard,  the  cutter  must  be  ready 
to  take  advantage  of  any  defensive  lapse.  His  body  should  be 
loosely  carried,  with  the  center  of  gravity  slightly  forward  and 
with  his  weight  evenly  distributed  on  the  balls  of  the  feet. 

A  good  cutter  knows  how  to  break,  when  to  break,  and  where 
to  break.  Many  good  players  know  how,  but  fall  down  when  it 
comes  to  the  timing.  The  timing  of  the  cut  is  important  because 
the  cutter  may  reach  the  point  of  attack  too  quickly  and  find  it 
necessary  to  wait  for  the  pass.  That  means  that  his  guard  will  be 
able  to  catch  up  with  him  and  may  be  able  to  intercept  the  pass 
and  break  up  the  play.  Cutting  too  late  may  discourage  the  passer 
and  the  cutter's  effort  may  be  wasted. 

One  of  the  most  difficult  features  to  teach  is  "where"  to  cut. 
Many  players  become  so  absorbed  in  maneuvering  to  get  the  ball 
that  they  forget  that  the  chief  purpose  of  the  cut  is  to  drive  toward 
the  basket  so  that  a  shot  may  be  attempted.  I  use  the  "give-and- 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES  79 

go"  continuity  (which  is  illustrated  on  p.  168)  to  teach  cutting 
and  passing  skill.  It  is  imperative  that  the  players  cut  to  the  basket. 
They  should  drive  down  through  the  lane  to  and  under  the  basket 
before  breaking  off  and  turning  toward  the  corner.  If  the  players 
are  not  carefully  checked,  the  give-and-go  drill  soon  resolves  itself 
into  a  weave  from  corner  to  corner  and  loses  its  value  as  a  cutting- 
and-driving  drill. 

There  is  another  aspect  of  cutting  that  may  cause  a  break  in 
team  morale.  Every  player  and  coach  of  basketball  is  aware  of  the 
letdown  a  cutter  experiences  when  he  executes  a  beautiful  play 
and  gets  away  from  his  guard  only  to  have  his  teammate  with  the 
ball  pass  him  up.  This  situation  should  be  discussed  with  the  squad 
and  the  coach  shouf3  explain  that  passing  up  a  player  who  makes 
a  good  cut  will  not  be  tolerated  unlessthe~prayefln  possession  of 
the  ball  is  not  in  a  good  passing  position  or  is  too  closely  guarded 
to  risk  the  pass. 

The  coach  should  also  warn  cutters  not  to  call  for  the  ball  unless 
they  are  sure  they  have  the  advantage  over  their  guard.  Many  play- 
ers scream  for  the  ball  whether  they  are  free  or  not.  The  good 
passer  will  take  cognizance  of  a  call  for  the  ball,  but,  before  mak- 
ing the  pass,  he  will  be  sure  that  the  teammate's  defensive  oppo- 
nent has  really  been  eluded  and  is  not  in  a  position  to  intercept 
the  ball. 

A  good  cutter  will  have  his  own  special  bag  of  tricks  in  getting 
loose  but  he  should  not  overlook  the  importance  of  taking  ad- 
vantage of  the  positions  and  movements  of  his  teammates  and  their 
opponents  to  get  away  from  his  opposing  guard. 

There  are  a  great  number  of  cutting  movements,  and  it  is  im- 
possible to  illustrate  all  of  them,  but  those  to  be  described  and 
illustrated  here  may  serve  as  examples  and  may  be  used  in  teach- 
ing players  to  cut.  Many  of  these  are  included  in  the  drill  catalog 
found  at  the  back  of  this  book.  The  starting  point,  direction,  and 
the  slant  of  the  cuts  shown  in  the  diagrams  may  vary  according  to 
the  style  of  play  in  use. 


80 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 


The  Angle  Cut  is  used  following  a  hard  drive  along  the  side- 
line. A  change-of-direction  turn  or  a  change  of  pace  and  another 
hard  cut  along  the  baseline  follows.  These  angle  cuts  are  the  basis 
for  "squaring  the  corners"  in  the  fast  break. 


Chart  1 
Angle  Cuts 

1  Right  corner  angle 

2  Left  corner  angle 


The  Buttonhook  can  follow  a  break  for  the  basket;  it  is  used  to 
set  up  a  post  position  outside  the  three-second  lane  or  in  the  outer 
half  of  the  free-throw  circle. 


Chart  2 
Buttonhook  Cuts 

1  Buttonhook  right 

2  Buttonhook  left 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 


81 


Corner  Loop  cuts  may  follow  an  attempted  guard-around  play. 
The  cutter  may  slow  down  after  the  initial  drive  and  veer  to  the 
corner.  Then  he  can  simulate  a  slow  start  up  the  sideline  and,  after 
a  quick  loop,  drive  for  the  basket. 


Chart  3 
Corner  Loops 

1  Corner  loop  right 

2  Corner  loop  left 


The  Cross-court  Reverse  is  used  following  a  hard  cut  across 
court  toward  the  ball.  When  he  does  not  receive  the  ball,  the  cut- 
ter slows  down  and  starts  slowly  up  the  sideline.  A  teammate  may 
fake  a  pass  to  him  and  if  his  guard  lunges  forward,  the  cutter  may 
suddenly  change  direction  (change-up)  and  cut  back  to  the  basket 
for  a  pass  and  an  easy  score.  This  play  occurs  in  practically  every 
game  and  is  especially  effective  against  the  defensive  player  who 
is  interception-minded. 


Chart  4 
Cross-court  Reverse 

2  Cross-court 
Reverse  and  Change 


82 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 


Slicing  is  used  when  a  post  man  is  stationed  in  the  outer  half  of 
the  free-throw  circle.  It  is  often  called  "splitting  the  post." 


Chart  5 
Slice  Cut 

1  Cuts  first 

2  Slices  behind  1 


S  cuts  are  used  extensively  in  the  give-and-go  style  of  play  and 
usually  follow  a  pass  from  the  cutter  to  a  backcourt  teammate. 


Chart  6 
"5"  Cut 


1  Passes  to  2 
and  executes 
"S"  cut 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES  83 

Scissors  cuts  are  designed  to  set  up  plays  for  men  away  from 
the  ball. 


Chart  7 
Scissors  Right 

1  Cuts  first 

2  Cuts  close  behind  1 

3  Side  post  with  ball 


Chart  8 
Scissors  Left 

1  Cuts  first 

2  Cuts  close  behind 

3  Side  post  with  ball 


84 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 


In  the  Reverse  Post  the  cutter  sets  up  a  post  position  near  the 
lane  or  in  the  outer  half  of  the  free-throw  circle  following  a  hard 
cut  for  the  basket.  He  can  slow  down  as  he  makes  the  turn  and 
then  break  suddenly  to  the  post  position  for  blocking  purposes  or 
to  handle  the  ball. 


Chart  9 
Reverse  Post 

1  Reverse  post 
(right  and  left) 


The  V  cut  is  used  to  change  direction  and  cut  for  the  basket. 
Many  coaches  make  use  of  this  principle  of  cutting  away  from  the 
receiver  when  their  team  is  freezing  the  ball. 


Chart   10 
"V"  Cut 


1  "V"  cut  (right 
and  left) 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 


85 


The  Under  and  out  cut  is  used  by  post  men  who  are  working 
from  a  position  on  the  side  of  the  court.  It  is  similar  to  the  Reverse 
Post  cut  and  can  be  made  laterally  across  the  court  or  following 
a  drive  to  the  basket. 


Chart  11 
Under  and  Out 

1  Under  and  out 
(right  and  left) 


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The  Corner  Break-out  is  used  when  a  corner  man  drives  toward 
the  outer  half  of  the  free-throw  circle  to  set  up  a  post  position.  If 
the  ball  is  not  passed  to  him,  he  whirls  suddenly  away  from  the 
ball  and  then  cuts  quickly  back  to  a  pivot  position  beside  the  lane 
for  a  possible  pass. 


Chart   12 
Corner  Break-out 

1  Corner  break-out 
(right  and  left) 


86  DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 


SCREENING 

Screening  is  the  backbone  of  modern  basketball.  All  offenses 
use  the  screen  in  some  manner  when  setting  up  their  front-court 
attack.  The  use  of  screens  enables  every  player  to  take  part  in  the 
offense  whether  it  is  a  weave,  roll,  the  give-and-go,  a  post,  pivot,  or 
any  other  style. 

A  screen  is  made  by  moving  in  varying  degrees  of  speed  behind 
or  in  front  of  a  defensive  opponent  in  such  manner  that  a  team- 
mate may  use  the  movement  to  get  a  half-step  advantage  in  break- 
ing for  the  basket.  Contact  resulting  from  a  screen  is  usually  caused 
by  the  screener  although,  in  some  cases,  the  defensive  opponent 
may  be  charged  with  the  foul. 

Screens  may  be  performed  with  or  without  the  ball.  The  block 
may  accompany  screens  if  it  is  used  according  to  the  rules.  A  drib- 
ble or  post  block  may  be  set  up  behind  a  defensive  player  and  if 
it  is  legally  set  (three  feet  away  from  the  opponent)  and  contact 
results,  the  defensive  player  is  charged  with  the  foul.  However, 
the  blocker  must  remain  motionless  with  his  arms  at  his  sides  up 
to  and  during  the  contact  or  he  may  be  charged  with  the  foul. 
Strict  interpretation  of  the  rules  requires  that  the  defensive  player 
be  penalized  with  the  foul  should  contact  result  from  a  block,  pro- 
viding that  the  offensive  player  has  set  up  the  block  three  feet  away 
from  the  defensive  player  and  does  not  move. 


/ 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 


87 


An  Inside  Screen  is  made  when  an  attacking  player  moves  or 
dribbles  between  a  teammate  and  the  teammate's  opponent.  When 
the  maneuver  is  executed  properly,  the  screener's  guard  will  move 
behind  the  other  defensive  player.  An  Inside  Screen  may  be  made 
at  varying  degrees  of  speed.  Normally  it  is  executed  at  half  speed 
to  enable  the  teammate  to  use  the  screener  and  his  guard  as  a 
moving  screen  around  which  he  may  cut  or  dribble  for  the  basket. 


Chart   13 
Inside  Screen 

1  Screens  between 

2  and  his  guard  B 


An  Outside  Screen  is  made  when  an  attacking  player  moves  or 
dribbles  behind  a  teammate's  opponent.  The  screener  may  move 
swiftly  or  at  a  leisurely  pace,  and  the  two  players  provide  a  mov- 
ing screen  around  which  the  teammate  may  cut  or  dribble  for  the 
basket. 


Chart   14 
Outside  Screen 

1  Screens  outside 

2  and  his  guard  B 


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88 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 


A  Back  Screen  occurs  when  an  attacking  player  dribbles  or 
moves  behind  a  teammate  after  driving  his  own  guard  behind  the 
teammate's  guard.  The  Back  Screen  is  designed  to  set  the  two 
guards  up  in  front  of  the  screened  player,  who  may  attempt  to  run 
his  personal  opponent  into  the  screener's  guard. 


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Chart   15 
Back  Screen 

1  Drives  his  guard 
A  back  of  guard  B 


An  Inside  Screen  Block  occurs  when  a  screener  or  dribbler 
stops  in  a  legal  position  between  his  teammate  and  his  teammate's 
opponent.  The  screener  must  be  sure  to  hold  his  block  without 
motion. 


Chart   16 

Inside  Screen  Block 

1  Screens  and  stops 
between  2  and  his 
guard  B 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 


89 


An  Outside  Screen  Block  occurs  when  a  screener  or  dribbler 
stops  directly  behind  a  teammate's  opponent.  In  this  case,  the 
screener  must  be  sure  that  he  stops  three  feet  from  his  teammate's 
guard  and  he  must  hold  his  position  without  motion  of  body  or 
arms. 


Chart   17 

Outside  Screen  Block 

1  Screens  back  of  guard 
B  and  sets  a  block.  He 
must  observe  the  three- 
foot  rule 


A  Side  Post  Block  occurs  when  a  screener  or  dribbler  stops  be- 
side a  teammate's  opponent  to  provide  an  obstacle  which  his  team- 
mate may  use  to  hamper  or  block  his  personal  guard. 


Chart   18 

Side  Post  Block 

1  Screens  beside  guard 
B  and  sets  a  block 


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90 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 


A  Rear  Post  Block  occurs  when  a  post  or  pivot  player  moves 
to  a  position  behind  a  teammate's  opponent  and  forms  an  obstacle 
into  which  the  teammate  may  force  his  guard. 


Chart   19 

Rear  Post  Block 

Post  player  2  moves  to  a 
position  behind  A  and 
sets  a  block 


A  Triangle  Dribble  Block  occurs  when  a  post  or  pivot  player 
dribbles  to  a  position  so  that  a  teammate  may  drive  around  the 
block  for  the  basket. 


Chart  20 

Player  2  dribbles  to  the 
side  and  sets  a  block  for 
opponent  A 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 


91 


A  Side  Dribble  Block  occurs  when  a  player  stationed  in  the 
backcourt  dribbles  to  a  position  beside  an  opposing  guard  and 
sets  up  a  post  around  which  a  teammate  may  drive  for  the  basket. 


Chart  21 

Side  Dribble  Block 

1  Dribbles  beside  guard 
B  and  sets  a  block 


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A  Rear  Dribble  Block  occurs  when  a  backcourt  player  dribbles 
behind  an  opponent  and  sets  up  a  post  around  which  a  teammate 
may  drive  for  the  basket. 


Chart  22 

Rear  Dribble  Block 

1  Dribbles  behind  guard 
B  and  sets  a  block 


92 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 


A  Double  Block  is  formed  by  two  teammates  who  set  up  a 
shoulder-to-shoulder  or  staggered  screen  which  may  hamper  a  team- 
mate's guard  when  he  drives  for  the  basket.  Many  set  attacks  use 
some  form  of  the  Double  Block  in  their  category  of  plays. 


Chart  23 
Double  Block 

Offensive  players  1  and 
2  move  to  a  position  be- 
side the  lane  and  set  a 
block  for  player  3 


The  Offensive  Roll  is  used  by  a  screener  when  his  path  is 
blocked  by  an  opponent  and  contact  seems  imminent.  The  screener 
rolls  back  and  away  from  the  opponent  (pivoting  on  the  left  foot 
when  screening  to  the  right  and  pivoting  on  the  right  foot  when 
screening  to  the  left)  so  that  contact  is  avoided. 


Chart  24 
Offensive  Roll 

Offensive  player  1  starts 
a  screen  for  2  rolls  away 
from  guard  B 

Chart  25 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES  93 


DEVELOPING  MARKSMANSHIP 

Shooting  ranks  close  in  importance  to  expert  handling  of  the  ball 
(catching,  passing,  arid  dribbling).  Many  coaches  place  shooting 
first  in  importance.  That,  of  course,  is  a  matter  of  opinion.  At  any 
rate,  all  players  like  to  shoot  and  will  spend  hours  perfecting  mas- 
tery of  their  favorite  shot.  Thus,  in  teaching  his  players  to  shoot, 
about  all  the  coach  has  to  do  is  insist  upon  the  observance  of  cor- 
rect techniques.  Many  coaches  say  that  they  are  not  interested  in 
form  as  long  as  the  ball  goes  through  the  hoop.  That  philosophy  is 
all  right  for  the  professional  coach  who  can  select  players  with 
proven  shooting  accuracy.  But  the  high  school  and  college  coach 
must  develop  marksmanship  through  the  teaching  of  correct  shoot- 
ing principles  and  techniques. 

Some  players  possess  a  natural  "eye"  and  master  the  various 
shots  with  little  help  from  the  coach.  Others  must  be  taught  to  shoot; 
the  marksmanship  hints  that  follow  are  designed  to  aid  the  coach  in 
this  part  of  his  job. 

Not  too  many  years  ago  teams  relied  upon  one  or  two  players 
to  supply  the  scoring,  and  coaches  built  their  offenses  around  these 
scorers.  A  good. team-shooting  average  in  those  days  seldom  ex- 
ceeded 30  per  cent.  Today,  all  players  are  expected  to  be  marks- 
men— and,  for  the  most  part,  they  are.  The  development  of  the 
one-hand  shot  and  the  jump  shot  has  had  much  to  do  with  the  in- 
creased accuracy  of  modern  players.  Team  averages  have  now 
jumped  as  high  as  40  per  cent.  Some  modern  players  boast  a  shoot- 
ing average  as  high  as  60  per  cent. 

Good  marksmanship  can  be  taught.  Most  players  are  eager  to 
improve  their  accuracy  and  will  cooperate  fully  with  the  coach.  It 
is  his  task  to  drill  the  players  over  and  over  in  the  correct  shooting 
techniques  until  they  become  second  nature  and  are  executed  freely 
and  without  hesitation.  But  teaching  a  boy  to  be  a  scorer  is  a  more 
difficult  task.  Some  players  are  born  with  an  inner  drive  and  a 


Inside  Screen 


Player  40  dribbles 
toward  his  teammate 
32  and  then  passes  him 
the  ball.  Player  40  con- 
tinues on  to  execute  an 
inside  screen  between 
player  32  and  his  op- 
ponent. 


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Outside  Screen 


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Player  40  starts  a  dribble  and  then  passes  to  his  teammate  32. 
Continuing  on,  player  40  cuts  behind  the  opponent  guarding  player 
32.  (Note  how  player  40  makes  sure  to  avoid  contact  with  the  de- 
fensive players  so  that  he  will  not  be  called  for  charging.) 


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Back-Screen 
Give-and-Go 


Player  40  snaps  the  ball  to 
his  teammate  32  and  cuts  be- 
hind him.  Player  32  gives  the 
ball  back  to  40  and  cuts  for 
the  basket.  He  could  hold  posi- 
tion to  afford  a  set  shot  for  40 
if  he  wished.  Since  he  has  cut, 
he  expects  a  return  pass.  In 
the  illustration,  player  32 
should  have  cut  further  to  his 
left  and  in  front  of  defensive 
player  11.  This  might  have 
caused  a  slight  bit  of  confusion 
between  the  defensive  players, 
forcing  a  switch  or  enabling  32 
to  gain  a  half-step  advantage 
on  his  personal  guard. 


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Screen  Play 


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Player  40  dribbles  to  a  posi- 
tion three  feet  behind  the  op- 
ponent of  his  teammate  32. 
Player  32  fakes  left  with  a  foot- 
step and  then  changes  direc- 
tion and  cuts  to  the  right  of 
the  screening  player  40.  Note 
that  40  holds  his  screening 
position  without  moving  after 
the  pass  to  player  32. 


102  DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 

fierce  confidence  in  their  ability  to  get  points.  These  players  are  the 
potential  scorers  whom  every  coach  is  seeking  and,  if  he  is  blessed 
with  several  of  them,  he  is  in  business. 

Basketball  is  a  game  in  which  handling  and  shooting  the  ball  de- 
pend for  control  and  accuracy  upon  the  wrists  and  fingertips.  In 
these  skills  the  ball  should  not  touch  the  palms  or  heels  of  the 
hands.  The  coordination  of  the  elbows,  wrists,  and  fingers  with  the 
carriage  of  the  body  will  result  in  the  loose,  flowing  motion  that  in- 
sures control  and  accuracy  in  shooting  or  handling  the  ball. 

Some  players  shoot  best  from  certain  positions  on  the  floor.  If 
the  planned  offense  permits,  these  players  should  be  used  in  the 
continuity  or  system  so  that  their  shooting  opportunities  occur 
when  they  reach  their  favorite  positions. 

The  shooting  chart  shown  on  the  opposite  page  may  be  used  to 
determine  the  type  of  shot  to  be  used  in  certain  front-court  areas. 

marksmanship  principles 

Basketball  shots  may  be  classified  according  to  the  direction  in 
which  the  marksman  is  facing  when  he  tries  for  the  goal.  If  he  is 
facing  the  basket  with  shoulders  and  feet  squared  toward  the  hoop, 
it  may  be  called  a  facing  shot.  If  his  back  is  turned  to  the  basket 
it  may  be  called  a  back-up  shot.  If  he  is  facing  or  cutting  toward 
the  right  or  left  corner  when  he  attempts  a  shot,  it  may  be  called  a 
diagonal  shot. 

No  matter  what  the  facing,  the  shooter  should  always  try  to 
bring  his  body — head,  shoulders,  hips,  and  feet — around  toward 
the  basket  as  the  ball  is  released. 

As  a  hunter  aims  a  gun,  so  should  the  player  aim  the  basketball. 
And,  just  as  the  hunter  focuses  his  eye  on  the  target,  so  should  the 
basketball  player  focus  and  keep  his  eye  on  the  rim  of  the  basket. 
The  target  is  usually  the  center  of  the  front  rim.  However,  some 
shooters  shoot  for  the  space  within  the  rim  (visible  from  any  part  of 
the  front  court)  or  aim  on  the  back  rim  of  the  basket.  I  prefer  that 
the  shooter  bisect  the  front  rim  and  concentrate  on  this  spot  before, 
during,  and  after  the  shot. 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 

Chart  25 


103 


Area  1.  Ball  is  banked  from  Backboard  in  this  area.  Pivot  Turn 
Shots,  Hook  Shots,  Step- Away  Shots,  All  Lay-up  Shots. 

Area  2.  One-hand  Set  Shots,  Two-hand  Set  Shots,  Jump  Shots, 
Two-hand  Overhead  Shots,  Hook  Shots. 

Area  3.  One-hand  Set  Shots,  Two-hand  Set  Shots,  Jump  Shots. 

Area  4.  Two-hand  Set  Shots  only. 

Area  5.  Long  Two-hand  Set  Shot  by  expert  marksman  only. 

Area  6.  Two-hand  Desperation  Set  Shot. 

Area  7.  Shots  not  necessary  from  this  area  except  in  last  second. 


104  DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 

f 

The  ball  should  be  released  from  the  fingertips;  a  desirable  re- 
verse spin  accompanies  this  release.  Just  as  a  pitcher  calls  on  his 
fast  ball  for  a  control  pitch,  so  should  the  basketball  player  employ 
the  spin  for  accuracy.  This  spinning  motion  is  a  natural  spin.  In  the 
one-hand  shot  it  is  imparted  through  the  downward  flip  of  the 
fingers  because  of  a  complete  forward  flip  of  the  hand  from  the 
wrist. 

The  spin  in  the  two-hand  overhand  shot  occurs  because  the  fingers 
are  flipped  up  and  out  while  the  thumbs  are  directed  downward  by 
an  outward  turn  of  the  wrists.  The  thumb  action  here  is  the  domi- 
nant factor.  In  the  two-hand  underhand  shots  (free-throw  and 
lay-up  and  pivot  player's  underhand  sweep)  the  spin  occurs  be- 
cause the  fingers  and  thumbs  are  flipped  forward  and  up  by  a  lift- 
ing motion  of  the  wrists.  Some  players  shoot  a  dead  ball  (no 
spin)  with  some  success,  but  the  great  majority  of  high-scoring 
marksmen  use  a  natural  spin. 

A  good  follow-through  is  important  in  any  skill,  and  particularly 
in  shooting  a  basketball.  The  completion  of  the  shot  should  find  the 
arm  or  arms  fully  extended  toward  the  basket  with  the  eyes  still 
concentrated  on  the  target.  Although  it  may  not  seem  important 
to  maintain  this  concentration  of  the  eyes  on  the  rim  of  the  basket, 
lifting  the  head  to  watch  the  flight  of  the  ball  pulls  the  shoulders 
back  and  lifts  the  arm  or  arms  up  and  back,  thus  checking  the 
most  important  part  of  the  follow-through.  Players  will  readily 
recognize  this  fact  after  a  few  trials. 

Some  years  ago,  certain  coaches  advocated  use  of  the  backboard 
on  all  shots,  supporting  this  recommendation  with  the  statement 
that  if  the  shot  was  unsuccessful  a  deep  rebound  would  result,  en- 
abling the  shooting  team  to  regain  the  ball.  This  principle  died  a 
natural  death.  The  outstanding  shooters  today  are  "clean"  shooters 
(they  eliminate  the  use  of  the  backboard)  except  when  under  or 
near  the  basket.  A  few  exceptionally  tall  players  shoot  all  their 
shots  clean,  regardless  of  proximity  to  the  basket. 

Use  of  the  backboard  is  recommended  for  driving  lay-up  shots 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES  105 

(overhand  and  underhand),  hook  shots,  one-  and  two-hand  sets  and 
"jumpers"  when  the  shooter  is  in  the  backboard  area  shown  by 
Chart  25.  The  angle  from  which  the  shot  is  taken  will  determine 
the  spot  on  the  backboard  to  which  the  ball  should  be  directed.  In 
making  a  bank  shot,  the  shooter  must  determine  the  angle  necessary 
for  a  successful  rebound  and  then  concentrate  on  the  apex  of  the 
angle  or  the  spot  on  the  backboard,  keeping  his  eyes  focused  on  the 
spot  until  the  ball  has  hit  the  target. 

The  use  of  spin  is  discouraged  in  the  backboard  shot  unless  the 
shooter  is  out  of  position  and  must  make  up  for  a  poor  angle  by 
imparting  carry  (side  rotation)  or  kill  (reverse)  spin  to  the  ball. 
In  placing  the  ball  against  the  backboard  the  shooter  should  use  a 
high  jump  rather  than  a  broad  jump.  Use  of  a  broad  jump  means  a 
hard  rebound  angle  for  a  successful  shot.  Use  of  a  high  jump  en- 
ables the  shooter  to  place  the  ball  gently  against  the  backboard 
from  a  higher  plane. 

The  smack  of  the  feet  on  the  floor  in  a  "one-two"  count  is  an 
important  part  of  the  lay-up  shot.  Naturally,  from  the  right  side  of 
the  basket,  the  one-two  is  executed  with  the  right  foot  contacting 
the  floor  on  the  "one"  count  and  the  left  foot  landing  on  the  "two" 
count  so  that  the  shot  is  correctly  attempted  with  the  right  hand  as 
the  left  foot  leaves  the  floor. 

When  the  player  is  driving  to  the  basket  from  the  left  side  of  the 
court,  the  "one"  count  is  made  by  the  left  foot  striking  the  floor, 
and  the  "two"  count  is  made  by  the  right  foot  as  the  shot  is  at- 
tempted with  the  left  hand.  Chart  26  gives  some  idea  of  angles  and 
banking  spots  on  the  backboard. 

FACING  SHOTS 

Good  scorers  possess  the  knack  of  getting  good  shooting  posi- 
tions. And,  unless  they  are  pivot  or  post  players,  they  usually  man- 
age to  secure  good  facing  positions  before  they  release  the  ball  for 
a  shot. 


106 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 


Backboard  Angles  and  Banking  Spots 


True  angles  will  not  result  in  successful  basket  rebounds.  Actual 
angle  rebounds  (approximate)  of  the  ball  are  shown  by  the  straight 
lines.  The  lines  with  arrows  indicate  the  shooting  lines  which  will 
result  in  a  rebound  into  the  basket.  The  wider  angle  is  necessary 
because  there  is  considerable  "kill"  when  the  ball  hits  the  back- 
board. This  "kill"  reduces  the  angle.  Players  usually  compensate 
for  "kill"  by  overshooting  because  they  have  learned  after  hundreds 
of  shots  that  the  wider  angle  results  in  the  actual  score. 

Chart  26 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES  107 


right-hand  lay-up  shot 

The  lay-up  shot  is  undoubtedly  the  most  important  action  shot 
since  it  is  closest  to  the  basket  and  is,  or  should  be,  the  easiest  to 
make.  Further,  the  fast  break  together  with  a  good  passing  attack 
is  designed  to  free  players  for  the  good  or  easy  shot.  When  ap- 
proaching the  basket  from  the  right  side  of  the  court,  the  player 
attempting  a  lay-up  shot  should  adjust  his  stride  so  that  his  feet 
smack  the  floor  in  a  one-two  count  as  he  takes  off  for  the  shot. 
Since  the  shot  will  be  made  with  the  right  hand,  the  left  foot 
lands  on  the  "two"  count.  The  driving  one-two  should  carry  the 
shooter  under  the  basket  and  he  should  attempt  to  leap  as  high  in 
the  air  as  possible  from  the  left  foot. 

As  the  player  springs  upward,  the  ball  is  released  from  the 
fingertips  of  the  right  hand  with  the  palm  facing  the  basket.  The 
ball  should  be  laid  lightly  on  the  angle  spot  without  intentional 
spin.  Many  players  twist  the  hand  as  the  ball  leaves  the  fingers  im- 
parting a  "carry"  or  "english"  spin  which  is  unnecessary. 

Some  coaches  teach  their  players  to  lengthen  the  last  stride  as 
the  shot  is  attempted.  If  the  player  can  do  this  without  employing 
a  broad  jump  instead  of  a  high  jump  it  is  all  right.  Otherwise,  the 
regular  driving  stride  is  best.  The  shooter  should  carry  the  ball  as 
high  as  possible  before  laying  it  against  the  backboard. 

When  approaching  the  basket  from  the  left  side  of  the  court,  the 
player  should  make  the  lay-up  with  the  left  hand.  The  one-two 
count  will  be  reversed  on  the  left  side  of  the  basket  and  the  ball  will 
be  released  just  after  the  right  foot  leaves  the  floor  on  the  "two" 
count. 


down-the-middle  lay-up  shot 

The  shortest  distance  between  two  points  is  a  straight  line.  It 
follows  that  the  player  who  succeeds  in  making  an  interception  or 


108  DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 

in  gaining  the  lead  on  the  opponents  in  a  fast  break  down  the 
center  of  the  court  should  stick  to  the  straight  line.  This  will  bring 
him  toward  the  basket  directly  in  front  of  the  hoop.  The  shooter 
should  focus  his  eyes  on  a  target  spot  on  the  backboard  and  lift 
the  ball  over  the  front  rim  with  his  best  shooting  hand.  The  ball 
should  be  aimed  at  the  target  spot  on  the  backboard  and  released 
with  a  slight  downward  "drag"  of  the  fingertips. 

If  the  player  cannot  master  this  shot  (many  short  players  find 
it  difficult)  he  should  swerve  slightly  left  or  right  so  that  he  can 
use  his  best  shooting  hand  to  lay  the  ball  against  the  backboard 
from  the  side  of  the  basket. 

two-hand  underhand  lay-up  shot 

This  is  the  oldest  shot  in  the  game,  but  it  has  lost  much  of  its 
popularity  because  of  the  development  of  the  one-hand  overhead 
lay-up.  However,  many  players  still  use  it  when  they  are  closely 
pursued  by  an  opponent  since  the  ball  can  be  shielded  with  the 
body.  The  ball  is  carried  up  with  two  hands  and  is  laid  against 
the  backboard  from  the  usual  one-two  take-off.  If  the  player  is  right- 
handed  he  will  usually  take  off  from  the  left  foot  on  the  "two" 
count,  and  vice  versa  if  he  is  left-handed.  The  ball  is  carried  for- 
ward and  upward  and  is  released  from  the  fingers  with  the  arms 
fully  extended. 

Some  players  utilize  this  shot  when  driving  down  the  center  of 
the  free-throw  lane  to  a  point  directly  in  front  of  the  basket.  The 
shot  may  be  banked  or  played  clean  and  the  body  is  carried  through 
the  air  in  a  long  "hesitation"  leap  following  the  usual  one-two 
count.  The  arms  lift  the  ball  upward  and  forward  and  it  is  re- 
leased with  reverse  spin  from  the  fingertips. 

one-hand  underhand  lay-up  shot 

The  one-hand  underhand  lay-up  shot  is  similar  to  the  two-hand 
underhand.  However,  it  permits  more  freedom  owing  to  the  greater 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES  109 

reach  and  a  more  complete  follow-through.  The  take-off  is  the 
same  as  for  the  one-hand  overhand  lay-up. 


two-hand  overhead  lay-up  shot 

This  shot  is  used  by  tall  players  who  receive  a  high  pass  when 
they  have  cut  close  to  the  basket  and  have  little  time  to  do  more 
than  leap  in  the  air.  The  ball  barely  comes  to  rest  in  the  hands  be- 
fore it  is  placed  against  the  backboard  or  dropped  over  the  rim.  It 
is  highly  effective  when  the  passer  has  utilized  a  fake  shot  pass  to 
trick  the  shooter's  opponent  into  turning  toward  the  basket  to  get 
position  for  the  rebound. 

twisting  lay-up  shot 

This  shot  is  used  by  a  player  when  he  is  closely  played  and  can 
only  get  the  lay-up  away  by  turning  or  twisting  so  that  his  body  is 
between  the  ball  and  the  opponent.  The  shooter  may  use  one  hand 
or  two  hands  for  this  shot  and  it  may  be  made  underhand  or  over- 
hand. 


under-basket  buttonhook  shot 

This  shot  is  made  when  a  dribbler  is  forced  under  the  basket  or 
is  too  closely  guarded  to  attempt  a  lay-up.  He  continues  on  around 
and  under  the  backboard  to  the  other  side  of  the  basket  and  "but- 
tonhooks" toward  the  court.  The  ball  is  laid  up  against  the  back- 
board with  a  one-hand  overhand  shot.  Naturally,  the  player  may 
use  a  straight  overhead  sweep,  or  he  may  stop  and  use  the  jump- 
push  shot,  or  he  may  attempt  a  half -hook  shot. 

running  one-hand  shot 

The  running  one-hand  shot  is,  as  the  name  implies,  a  shot  at- 


110  DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 

tempted  while  in  motion.  It  is  a  facing  shot  and  is  usually  taken 
when  the  shooter's  path  to  the  basket  is  blocked.  As  the  player 
takes  off  on  the  one-two  count,  he  lifts  the  knee  on  the  side  from 
which  he  is  shooting.  The  knee  is  drawn  up  waist-high  as  the 
player  releases  the  ball  from  the  fingertips  of  his  fully  extended 
arm.  If  it  is  taken  from  a  position  in  front  of  the  basket,  it  should 
be  a  clean  shot.  If  it  is  attempted  within  the  banking  area  shown 
in  Chart  25,  it  should  be  banked  against  the  backboard. 


one-hand  set  shot 

The  one-hand  set  shot  is  an  excellent  scoring  weapon  after  a  hard 
drive  and  a  quick  stop.  The  best  results  will  probably  be  achieved 
by  throwing  a  hard  stop  and  then  pulling  the  advanced  foot  back  to 
gain  body  balance.  This  will  transfer  the  weight  to  the  forward 
foot.  The  right-handed  player  should  throw  his  stop  with  the  left 
foot  in  the  advanced  position.  When  the  stop  is  thrown,  the  weight 
will  be  well  forward  but  can  be  brought  back  under  control  by  pull- 
ing the  left  foot  back  as  a  steadying  factor.  This  movement  will 
result  in  transferring  the  weight  to  the  forward  or  shooting  foot, 
which  should  be  pointing  directly  toward  the  basket. 

The  ball  is  brought  up  and  back  over  the  shoulder  to  eye  level. 
A  slight  jiggle  of  the  ball  as  the  player  eyes  the  target  will  loosen 
the  forearm,  wrist,  and  fingers,  and  the  snap  of  the  knees  forcing 
the  body  up  on  the  toes  is  coordinated  with  the  full  extension  of 
the  shooting  arm.  The  ball  is  released  with  the  fingertips;  the 
follow-through  leaves  the  back  of  the  hand  pointing  toward  the 
basket  with  the  fingers  extending  downward  toward  the  floor. 


one-hand  overhead  shot 

This  shot  is  made  in  the  same  manner  as  the  one-hand  set  shot 
with  the  exception  that  the  ball  is  carried  above  the  head  and  the 
arm  is  fully  extended  before  the  shot.  The  ball  is  usually  supported 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES  111 

by  the  left  hand,  the  release  for  the  shot  being  accomplished  by  a 
shoving  motion  of  the  nearly  straight  arm.  A  slight  elbow  bend  ac- 
companied by  a  wrist  flip,  which  forces  the  fingers  to  release  the 
ball  and  follow  through,  completes  the  shot.  Naturally,  the  target 
is  the  bisected  front  rim  and  the  eyes  should  remain  focused  on 
this  spot. 


the  two-hand  set  shot 

The  two-hand  set  shot  is,  as  the  name  implies,  a  time  shot.  If 
the  player  does  not  have  time  to  get  the  ball  away,  he  should  forget 
the  shot  and  get  rid  of  the  ball. 

In  making  the  two-hand  set  shot,  the  body  is  slightly  crouched 
with  the  weight  on  the  balls  of  the  feet.  The  ball  is  held  loosely  in 
the  tips  of  the  fingers  (avoid  pressure  by  the  thumbs)  with  the 
elbows  carried  close  to  the  sides  of  the  body.  The  ball  is  carried 
to  eye  level  and  aimed  like  a  gun  at  the  center  point  of  the  front 
rim.  A  slight  jiggle  of  the  ball  should  be  made  as  it  is  brought  up 
to  the  aim  position  (eye  level). 

When  the  player  is  ready  to  shoot,  the  ball  is  dropped  slightly 
to  unlock  the  wrists  and  the  body  drops  slightly  toward  the  floor  as 
the  knees  lower  for  the  power  snap.  As  the  ball  starts  back  up 
from  the  unlocking,  the  knees  snap  back  and  a  slight  leap  is  made 
from  the  floor.  The  extension  and  the  straightening  of  the  arms 
propels  the  ball  toward  and  over  the  rim  in  a  medium  arc. 

The  snap  of  the  fingers  outward  forces  the  thumbs  downward 
and  the  hands  continue  to  reach  after  the  speeding  ball  as  if  to 
continue  onward  and  grasp  the  front  of  the  basket  rim.  The  eyes 
should  not  follow  the  flight  of  the  ball  but  should  remain  concen- 
trated on  the  rim.  The  shooter  should  have  the  feeling  that  he  is 
reaching  right  up  to  the  rim  and  dropping  the  ball  down  through  the 
hoop. 

The  feet  are  separated  a  little  less  than  the  width  of  the  shoulders 
with  one  foot  slightly  behind  the  other  before  the  leap  from  the 


112  DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 

floor.  Some  players  use  a  skipping  motion  in  which  the  rear  foot 
lands  in  front  following  the  leap. 


two-hand  overhead  set  shot 

The  two-hand  overhead  set  shot  is  best  executed  by  tall  players. 
Few  small  players  have  been  successful  with  this  type  of  set  shot 
since  it  requires  considerable  wrist  and  finger  strength.  Use  of  the 
arms  in  a  throwing  motion  means  that  the  player  is  doing  just  that: 
throwing,  instead  of  shooting  the  ball.  Further,  one  of  the  chief 
advantages  of  the  small  player  is  his  proximity  to  the  floor.  By 
lifting  the  ball  over  the  head  he  is  limiting  his  options. 

The  shot  is  made  in  exactly  the  same  manner  as  the  two-hand 
overhead  set  shot.  The  ball  is  jiggled  by  the  wrists  as  it  is  aimed 
and  the  release  ends  with  the  thumbs  extending  toward  the  floor 
and  with  the  fingers  reaching  toward  the  basket.  The  follow-through 
ends  with  the  thumbs  extending  toward  the  floor  and  the  hands  and 
fingers  reaching  for  the  basket.  This  finish  requires  that  the  backs 
of  the  hands  be  close  together.  Most  tall  players  execute  this  shot 
from  a  standing  position  and  do  not  leap  from  the  floor. 


two-hand  overhead  jump  shot 

The  two-hand  overhead  jump  shot  is  made  in  the  same  manner 
as  the  one-hand  jumper  except  that  the  ball  is  carried  above  the 
head  instead  of  over  the  shoulder.  The  player's  usual  shooting  hand 
will  dominate  in  the  shot.  The  other  hand  supports  the  ball  and  will 
finish  lower  in  the  follow-through,  because  of  the  necessity  of 
strong  wrist  action. 

When  held  evenly  with  the  two  hands,  the  ball  is  best  controlled 
by  releasing  it  with  an  outward  snap.  This  snap  action  thrusts  the 
thumbs  downward;  the  outstretched  hands  finish  in  a  back-to-back 
position. 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES  113 


the  two-hand  pump  shot 

This  shot  is  popular  with  some  Western  players  and  is  similar 
to  the  two-hand  overhead  jump  shot.  The  pump  shot  is  executed 
while  the  player  is  in  the  air;  it  gets  its  name  from  the  pumping  ac- 
tion of  the  arms  and  legs  just  before  the  ball  is  released.  The  ball 
is  carried  behind  the  head  as  the  player  leaps  in  the  air.  The  knees 
are  bent  so  that  the  feet  are  brought  up  behind  the  upper  legs.  The 
player  holds  his  body  motionless  in  the  air  for  a  brief  moment  and 
then  releases  the  ball  with  a  forward  and  upward  swing  of  the  arms 
and  a  downward  snap  of  the  legs. 


one-hand  jump  shot 

The  jump  shot  is  the  most  popular  shot  in  the  game.  Originally 
developed  in  the  West,  it  gained  popularity  in  the  East  and  Middle 
West  following  Hank  Luisetti's  brilliant  scoring  demonstrations 
while  he  was  on  a  tour  of  these  sections  of  the  country  as  a  mem- 
ber of  the  fine  Stanford  team. 

Every  player  uses  the  jump  shot  today.  Some  players  use  it  ex- 
clusively. It  is  a  splendid  scoring  weapon  when  used  within  reason- 
able distance  from  the  basket  and,  so  far,  no  consistent  defense  has 
been  found  to  check  its  effectiveness. 

The  shot  usually  follows  a  dribble  in  which  the  player  executes 
a  hard  stop.  The  player  should  bring  his  feet  close  together  after 
the  stop  in  a  jumping  position.  Here,  it  is  important  to  note  that 
the  true  jump  shot  is  made  straight  up  from  the  "stop"  position.  A 
stop  followed  by  a  forward  leap  with  one  knee  raised  is  simply 
another  form  of  the  running  one-hand  shot.  The  sudden  stop,  fol- 
lowed by  a  leap  high  in  the  air,  gives  maximum  protection  and  is 
the  chief  reason  no  effective  defense  has  been  developed. 

As  the  feet  are  brought  together,  the  player  should  crouch  in  a 
jumping  position  and,  at  the  same  time,  rotate  the  ball  so  that  he 


114  DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 

has  it  in  shooting  position  with  his  shooting  hand  on  top  of  the  ball. 
With  the  leap,  the  ball  should  be  carried  to  a  position  as  high  over 
the  right  shoulder  as  the  extended  arm  will  permit.  The  ball  is  sup- 
ported by  the  left  hand  for  a  right-hand  shot;  the  left  hand  should 
force  the  ball  back  until  the  shooting  hand  is  under  the  ball  with 
the  palm  facing  directly  upward.  The  elbow  and  the  wrist  snap  the 
ball  upward  and  forward  and  it  is  released  from  the  fingertips. 

Again,  the  eyes  should  concentrate  on  the  rim  target  to  insure 
a  complete  follow-through.  Some  players  become  so  adept  with  this 
shot  that  they  can  use  a  fall-away  technique  and  get  the  shot  off 
even  though  they  are  closely  guarded. 


tip-in  shot 

All  ballplayers  should  practice  this  "gift"  basket.  Pivot,  post, 
and  corner  men  are  usually  assigned  follow-in  duties,  and  at  this 
point  the  tip-in  shot  is  a  demoralizing  weapon.  Although  the  ball 
may  not  be  touched  while  it  is  on  the  rim,  practice  will  enable  the 
player  to  master  the  timing  necessary  to  meet  the  ball  as  it  leaves  the 
rim  or  the  backboard.  Some  extremely  tall  players  have  sufficient 
coordination,  timing,  and  control  to  play  the  shot  clean,  but  best 
results  are  achieved  when  the  ball  is  tapped  back  up  against  the 
backboard  at  the  correct  angle. 

Players  should  first  be  taught  the  two-hand  tip-in  shot  to  master 
timing  and  control  of  the  ball.  After  they  have  acquired  the  neces- 
sary timing  and  good  two-hand  control,  the  use  of  one  hand  should 
be  fairly  easy.  The  ball  is  met  at  the  height  of  the  leap  and  the 
hand  should  "give"  slightly  to  gain  control  and  power.  Then  the 
ball  should  be  propelled  up  against  the  backboard  with  a  slight 
forward  snap  of  the  fingers. 


dunking  and  over-the-rim  shots 

As  previously  discussed,  dunking  is  a  must  for  the  tall  player. 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES  115 

Practice  of  this  skill  provides  splendid  jumping  and  timing  practice. 
Some  tall  players  use  the  dunking  or  over-the-rim  shot  in  actual 
games  but  its  chief  value,  for  most  players,  is  in  the  development  of 
timing  and  jumping. 


BACK-UP  SHOTS 

A  pivot  or  post  player  is  usually  stationed  with  his  back  to  the 
basket  so  that  he  may  serve  as  a  blocking  post  and  hand-off  feeder 
for  cutters.  The  team-value  of  this  player  increases  greatly  when 
he  is  also  a  scoring  threat.  Dutch  Dehnert,  passing  wizard  of  the 
original  Celtics,  originated  this  important  feature  of  the  game  thirty 
years  ago  and  used  it  as  a  passing  medium. 

Today  the  pivot  or  post  player  is  still  used  as  a  "feeder"  but  he 
has  also  become  a  dangerous  scorer.  A  variety  of  shots  have  been 
developed,  and  modern  pivot  and  post  players  are  expected  to  carry 
their  share  of  the  scoring  burden. 

straight  turn  shot  under  basket 

The  straight  turn  shot  is  the  basic  shot  for  the  pivot  player  who 
favors  a  shooting  position  just  outside  the  lane  on  either  side  of 
the  basket.  Best  usage  of  this  shot  calls  for  a  sudden  turn  and  lift 
of  the  ball  as  high  as  possible  before  the  release.  Most  pivot  men 
lift  the  opposite  arm  and  elbow  as  high  as  possible  to  provide  addi- 
tional protection  for  the  shot. 

The  shooter  makes  a  complete  turn  and,  when  the  ball  is  re- 
leased, is  facing  the  basket  for  a  quick  follow-in.  This  shot  may  be 
made  from  the  floor  or  following  a  leap  in  the  air.  Many  players 
precede  it  by  a  fake  step-away  or  turn  into  the  lane. 

step-away  shot  under  basket 

This  is  a  standard  pivot  shot.  It  may  be  made  with  a  turn  toward 


116  DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 

the  basket,  as  in  the  straight  turn  shot,  or  may  be  made  by  use  of 
the  hook.  If  a  player  is  able  to  get  the  ball  close  to  the  basket,  a 
fake  jump,  straight  turn,  or  turn  into  the  lane  may  precede  the 
step-away  with  good  results.  Most  pivot  men  use  the  step-away 
when  they  are  well  guarded  and  find  it  difficult  to  get  a  close-up 
shot  away. 

up-and-under  shot 

The  up-and-under  shot  makes  use  of  the  floor  area  between  the 
basket  and  the  baseline.  The  player  usually  fakes  a  hook,  jump, 
step-away,  or  turn  into  the  lane.  Then  he  dribbles  under  the  basket 
and  toward  the  baseline,  emerging  on  the  other  side  of  the  basket. 
He  may  use  a  buttonhook,  a  straight  turn  into  the  lane,  a  shot  with 
the  inside  hand,  or  a  jump  push  shot. 

one-hand  jump-twist  shot 

This  shot  resembles  the  straight  turn  shot  from  the  side  of  the 
lane.  The  player  leaps  directly  upward  from  the  floor  and  twists  his 
body  toward  the  basket.  As  he  leaps  upward,  he  raises  the  ball 
above  his  head  and  uses  a  semi-hook  shot.  It  is  a  specialty  shot  to 
be  used  by  the  tall  pivot  player;  if  he  can  master  accuracy  he  will 
have  a  fine  scoring  weapon. 

the  hook  shot  (left  and  right) 

This  almost  unstoppable  shot  should  be  used  near  the  basket. 
Unless  attempted  in  the  backboard  shooting  area,  it  should  be  a 
clean  shot  released  from  the  fingertips  high  over  the  head.  The  shot 
may  be  made  following  a  step-away  or  while  cutting  across  the 
court.  The  player  is  facing  away  from  the  basket  and  shoots  with 
the  hand  away  from  his  opponent  using  his  body  as  a  shield. 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES  117 

The  shot  is  taken  from  the  foot  nearest  the  basket  and  the  leg 
on  the  side  of  the  shooting  hand  is  raised  from  the  floor  as  in  any 
use  of  the  one-two  count. 

The  shooter  may  leap  from  the  floor  or  take  the  shot  in  stride. 
Naturally,  the  hook  shot  is  more  effective  when  used  by  a  tall  player 
and  less  likely  to  be  blocked.  In  fact,  it  is  a  standard  stock-in-trade 
weapon  of  the  tall  man.  The  arm  is*  held  fairly  straight  with  but  a 
slight  elbow  bend  and  the  ball  is  swept  upward  in  a  full  arc  to  a 
position  almost  directly  over  the  head.  The  palm  should  not  touch 
the  ball  in  this  upward  sweep;  when  the  hand  reaches  its  highest 
point  the  ball  is  released  from  the  fingertips. 

As  the  shooter  takes  his  first  stride  of  the  one-two  prior  to  the 
lift  of  the  leg  on  the  side  of  the  shooting  hand,  he  should  twist  his 
head  fully  so  that  he  can  focus  on  the  rim  target.  This  is  hard  to 
teach  because  most  hook  shooters  get  into  the  habit  of  sweeping  the 
ball  around  and  over  the  head  and  releasing  it  in  the  general  direc- 
tion of  the  basket.  Some  shooters  can  score  consistently  in  this 
manner  but  a  check  of  their  success  usually  reveals  that  they  make 
this  "blind"  hook  shot  from  the  same  position  in  the  vicinity  of  the 
basket.  The  player  who  depends  upon  the  use  of  the  hook  shot  from 
any  position  must  first  focus  his  eyes  on  the  target  and  then  release 
the  ball.     , 


the  half-hook  shot 

The  half -hook  shot  is  used  when  the  pivot  shooter  secures  a  good 
position  near  the  basket.  He  turns  in  toward  the  basket  as  in  the 
straight  turn  shot  and  then  hooks  with  his  body  between  the  ball 
and  his  opponent.  The  raised  arm  and  elbow  increase  the  distance 
between  the  opponent  and  the  ball.  The  half-hook  shot  usually  fol- 
lows a  fake  under-and-up  drive,  or  an  underhand  lay-up.  The 
shooter  should  bear  in  toward  the  basket  if  the  opponent  attempts 
to  ride  him  out  of  position. 


118  DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 


two-hand  underhand  sweep  shot 

The  underhand  sweep  is  a  legitimate  shot,  although  many  pivot 
men  use  it  to  draw  fouls.  When  preceded  by  a  lift  of  the  head  and  a 
fake  hook  or  turn  shot,  it  usually  comes  as  a  surprise  to  the  op- 
ponent. The  ball  is  swept  back  toward  the  basket  and  up  under  the 
opponent's  arm,  accompanied  by  a  turn  of  the  body.  The  ball  is  re- 
leased with  a  flip  from  the  fingertips  and  the  thumbs  are  thrust  up- 
ward to  impart  a  forward  spin  to  the  ball. 

one-hand  underhand  sweep 

The  one-hand  underhand  sweep  is  similar  to  the  two-hand  shot 
except  that  the  player  may  lift  the  arm  next  to  the  basket  and  direct 
the  ball  toward  the  target-spot  on  the  backboard  with  his  shooting 
hand.  This  under-the-arm  shot  often  catches  the  opponent  by  sur- 
prise. The  shot  is  more  deceptive  than  the  two-hand  shot  but  not 
quite  as  accurate. 

DIAGONAL  SHOTS 

These  shots  are  made  while  the  player  is  cutting  diagonally  across 
court  under  or  in  front  of  the  basket.  The  ball  is  released  from  the 
fingertips  on  the  regular  one-two  count  with  a  slight  turn  of  the 
body  as  the  player  springs  from  the  foot  opposite  the  shooting  hand. 

Though  it  is  an  overhand  shot,  a  hook  or  half -hook  is  often  used. 
Greater  accuracy  is  obtained  by  an  inward  turn  of  the  body  accom- 
panied by  a  thrust  of  the  elbow  and  the  shooting  hand  toward  the 
basket. 

diagonal  hook  shot 

This  shot  occurs  when  the  player  cuts  diagonally  in  front  of  the 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES  119 

basket  and  is  forced  to  continue  his  direction  by  the  close  guarding 
of  his  opponent.  Some  players  will  use  the  diagonal  hook  shot  in 
this  situation.  It  is  executed  in  the  same  manner  as  any  other  hook 
shot  but  the  shooter  must  keep  in  mind  that  he  is  traveling  away 
from  the  basket  and  is  in  a  poor  shooting  position.  It  is  a  ques- 
tionable shot. 


diagonal  stop-jump  shot 

As  in  the  diagonal  hook  shot,  the  player  is  in  a  poor  shooting 
position.  Even  though  he  may  stop  and  get  the  jumper  away,  it  is  a 
questionable  shot  since  he  is  facing  toward  the  corner  and  must 
turn  toward  the  basket.  The  player  should  throw  a  hard  stop,  gather 
his  feet  and  spin  so  that  his  body  is  facing  the  basket  when  he  leaps 
to  release  the  ball.  Otherwise,  the  shot  is  executed  exactly  as  in  the 
facing  stop-jump  shot.  A  good  point  to  remember  here  is  that  the 
ball  should  be  turned  to  the  shooting  position  before  the  leap  is 
made.  The  shooting  hand  should  be  above  and  the  other  hand  un- 
derneath to  support  the  ball. 


one-hand  jump  push  shot 

This  shot  is  a  favorite  with  the  pivot  player  who  succeeds  in 
gaining  a  good  back-up  position  outside  the  lane  near  the  basket. 
The  shot  is  banked  against  the  backboard  with  the  inside  hand  fol- 
lowing a  leap  in  the  air.  Best  results  are  achieved  by  looking  up  at 
the  basket  over  the  inside  (next-to-the-basket)  shoulder  and  then 
rising  on  the  toes  and  lifting  head  and  shoulders  with  a  slight  up- 
ward movement  of  the  ball  to  simulate  an  actual  shot.  This  move- 
ment is  followed  by  the  actual  shot. 

The  ball  is  held  in  the  fingertips  and,  on  the  shot,  the  hand  is 
turned  so  that  the  palm  faces  the  backboard.  The  player  accom- 
panies this  movement  with  a  leap  from  the  floor  and  banks  the  ball 
against  the  backboard  with  a  reverse  flip  of  the  fingers. 


120  DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES 

FREE-THROW  SHOTS 

The  value  of  the  free  throw  is  recognized  by  every  coach  in  the 
game.  While  coaching  in  high  school  I  taught  the  underhand 
method.  In  college  coaching  I  usually  allow  the  players  free  reign 
since  I  believe  it  is  too  late  to  change  their  style.  If,  however,  the 
player's  free-throw  average  is  erratic,  or  if  he  fails  to  improve  with 
constant  practice,  I  believe  in  making  a  change. 

Every  player  is  expected  to  make  at  least  50  free  throws  every 
day.  The  players  shoot  fouls  during  scrimmages  and  between  drills. 
A  good  feature  of  any  practice  is  to  run  the  players  in  the  fast 
break  or  some  full-court  drill  and  then,  while  they  are  bushed,  re- 
quire them  to  make  five  free  throws. 

two-hand  overhand  free  throw 

The  two-hand  set  shot  is  favored  by  many  backcourt  players  who 
use  it  in  their  regular  floor  play.  The  free-throw  technique  is  ex- 
actly the  same  as  that  used  from  the  field  except  that  the  skip  or 
leap  from  the  floor  is  eliminated.  To  make  up  for  the  lost  jumping- 
power,  the  knees  snap  sharply  back  from  their  flexed  position  and 
the  ankles  extend  and  raise  the  player  to  his  toes  as  the  ball  is 
released. 

The  eyes  are  focused  on  the  bisected  rim  and  continue  this  con- 
centration before,  during,  and  after  the  shot. 

two-hand  overhead  free  throw 

Tall  players  who  use  this  weapon  from  the  field  often  prefer  it 
from  the  free-throw  line  because  it  is  added  practice  in  one  of  their 
specialty  shots.  The  technique  is  the  same  as  in  the  two-hand  over- 
hand set  shot.  Since  most  tall  players  omit  the  skip  or  jump  when 
attempting  the  shot  from  the  field,  the  same  procedure  is  used  from 
the  free-throw  line.  This  shot  is  not  recommended  for  short  players. 


DEVELOPING    INDIVIDUAL    ATTACK    ABILITIES  121 

SHOOTING   TIPS 

1 

Hold  the  ball  loosely  in  the  fingtertips  and  avoid  pressure  by 
the  thumbs. 

2 

Concentrate  on  the  target  before,  during,  and  after  the  shot. 

3 

Follow  through.  Lifting  the  head  to  watch  the  ball  forces  the  body 
back  and  curtails  a  complete  follow-through. 

4 

Spin  the  ball.  A  spinning  ball  indicates  control.  Control  means 
accuracy.  Use  natural  spin  (reverse). 

5 

Shoot  with  confidence.  Be  sure  the  shot  will  be  successful.  Reach 
way  up  there  and  drop  the  ball  through  the  hoop. 

6 

Be  sure  you  have  good  body  balance  before  you  shoot.  Square 
the  shoulders,  hips,  and  feet  to  the  basket.  Be  loose. 

7 
In  your  practice  shooting,  get  the  ball  away  quickly.  But  be  sure 
you  have  developed  the  proper  techniques  until  they  are  second 
nature. 

8 

Know  the  floor  positions  from  which  you  shoot  best  and  move 
from  place  to  place  so  that  you  will  immediately  know  whether 
you  should  shoot  "clean"  or  use  the  backboard. 

9 

See  your  shot  before  you  shoot.  Estimate  the  distance,  the  arc, 
and  the  power  required.  Then,  after  you  have  visualized  the 
shot— let  her  gol 

10 

Be  a  team  player.  Attempt  only  good  shots.  If  you  are  not  in  a 
good  shooting  position,  if  you  do  not  have  good  body  balance 
or  do  not  have  time  to  take  a  good  shot— pass  the  ball. 


-y 


7T 


> 


n 


/ 


One-Hand  Set  Shot 


Good  form  is  demonstrated  in  this  use  of  the  one-hand  set  shot. 
The  player  carries  the  ball  chin-high  and  is  concentrating  on  the 
rim.  As  he  lowers  his  body  with  the  knee  bend,  the  wrists  drop 
slightly  to  unlock.  The  knees  snap  back  and  the  ball  is  brought 
back  to  the  shoulder  position.  Then,  with  a  slight  leap,  the  ball  is 
released.  (Note  the  excellent  finish.  The  arm  is  fully  extended  and 
the  fingers  have  followed  through  and  are  pointing  down  toward  the 
floor. )       ~~ 


Two-Hand  Set  Shot 


The  feet  are  apart  with  the  left  foot  in  advance  of  the  right.  The 
player  is  "aiming"  the  ball  at  the  basket.  As  he  bends  the  knees, 
there  is  a  slight  drop  of  the  ball  to  unlock  the  wrists.  The  ball  is 
brought  up  and  released  toward  the  basket  with  a  slight  hop  from 
the  floor  (the  distance  determines  the  degree  of  spring  necessary). 
Note  the  excellent  finish  with  the  eyes  still  focused  on  the  target  and 
the  hands  together  with  the  fingers  spread. 


yT 


r 


>--M 


One-Hand 
Jump  Shot 


HBHBak      mm  '      ^H 


The  player  is  coming  in  at  full  speed.  He  throws  a  hard  stop  and 
gathers  his  feet  for  the  leap.  Note  that  he  has  concentrated  his  eyes 
on  the  hoop  from  the  very  beginning.  As  the  player  leaps  in  the 
air  the  ball  is  brought  overhead.  The  left  hand  pushes  the  ball  back 
and  the  forward  snap  of  the  right  wrist  and  hand  propels  the  ball 
toward  the  basket.  The  player  has  finished  with  the  palm  facing  the 
basket.  The  fingers  should  follow  on  through  from  this  position 
until  they  are  pointing  toward  the  floor. 


m 


-  " 


Hook  Shot 


Hook  Shot 
(page   128-9) 


The  pivot  player  41  has  received  the  ball  near  the  lane.  He 
fakes  a  right  turn  into  the  lane  without  moving  the  feet.  Then  he 
reverses  quickly  and  slides  his  left  foot  along  the  lane  toward  the 
basket  and  takes  off  for  a  right-hand  hook  shot.  Note  that  he  has 
protected  the  ball  with  his  left  elbow  carried  high  and  that  he  has 
brought  his  right  knee  up  high  for  coordination. 


Jump  Push  Shot 
(page  132-3) 


The  pivot  player  41  receives  the  ball  in  a  good  shooting  posi- 
tion. He  turns  to  his  left  and  springs  straight  up  from  his  position. 
The  ball  is  banked  against  the  backboard  with  the  left  hand  and  the 
shot  ends  with  the  hand  turned  left  so  that  the  palm  faces  the  back- 
board. This  shot  will  be  more  successful  if  a  good  fake  with  hand 
and  ball  is  accompanied  with  a  rise  to  the  toes  and  with  a  good  head 
and  eye  feint.  Following  the  fake  and  feint  the  ball  is  brought  down 
and  then  the  shooter  actually  goes  back  up  with  a  full  leap  and 
banks  the  ball  against  the  backboard. 


'•5SS'  fi   \ 
mm 


Jump  Push  Shot 


Slide  Along  Lane  and  Jumper 


The  pivot  player  41  feints  right  with  his  shoulder  and  head  and 
then  takes  a  short  step  toward  the  basket  with  his  left  foot,  drop- 
ping the  ball  to  the  floor  at  the  same  time.  As  he  regains  the  ball, 
he  takes  a  long  stride  with  his  left  foot  and  feints  with  his  eyes  and 
head  as  if  to  continue  on  under  the  basket.  Then  he  executes  a  hard 
stop,  gathers  his  feet,  and  leaps  high  for  the  right-hand  jump  shot. 


Drive  Under  Basket 
From  Post 
Position 


The  post  player  fakes  right  with  ball  and  right  foot  and  then 
drives  under  the  basket  to  the  opposite  side  of  the  lane.  Here,  he 
executes  an  inside  (right-hand)  lay-up.  Note  that  the  shooter  41 
has  taken  off  from  his  left  foot  and  has  raised  his  right  knee  high 
on  the  shot.  When  a  post  or  pivot  player  drives  across  to  the  op- 
posite side  of  the  lane  he  can  use  a  great  number  of  shots  to  score — 
a  right-hand  buttonhook,  a  left-hand  turn,  a  turn  into  the  lane  fol- 
lowed by  a  right-hand  turn  or  hook  shot,  a  two-hand  overhead 
lay-up,  a  stop-jumper  with  the  inside  (right  hand),  or  a  stop-and- 
jumper. 


Pivot  Dribble 
Into  Lane  with 
Jump  Shot 


The  pivot  player  executes  a  foot-and-ball  fake  to  his  left  and 
then  dribbles  right  into  the  lane.  He  throws  a  hard  stop  facing  the 
basket,  gathers  his  feet,  and  leaps  into  the  air  for  a  jump  shot. 


Two-Hand 
Underhand  Sweep 
Shot 


The  pivot  player  41  executes  a  head  feint  and  a  ball  fake  to  his 
right.  He  turns  back  to  the  left  and  carries  his  body  as  though  to 
attempt  a  hook  shot.  At  the  last  instant  he  turns  in  and  sweeps  the 
ball  upward  against  the  backboard  with  a  two-hand  underhand 
sweep. 


Player  32  receives  the  ball  just  before  his  right  foot  strikes  the 
floor.  He  takes  a  long  stride  with  his  left  foot  and  then  hesitates 
for  the  upward  leap  toward  the  backboard.  The  takeoff  is  properly 
made  from  the  left  foot  for  the  right-hand  shot.  Note  that  the  ball 
is  carried  high  toward  the  spot  on  the  backboard.  Many  players 
miss  this  easy  shot  because  they  continue  the  left-foot  stride  (shown 
above)  with  another  long  stride  of  the  right  foot.  This  means  the 
player  executes  a  "broad"  jump  instead  of  a  "high"  jump. 


One-Hand  Underhand  Lay-Up  Shot 


This  shot  is  frowned  upon  by  many  coaches  since  the  hand  is 
under  the  basket,  and  if  the  player  is  caught  too  far  under  the  shot 
may  be  missed.  The  player  has  good  body  balance  in  this  picture 
taken  in  an  actual  game. 


Right  Hand  Overhand  Lay-Up 


In  this  "game"  shot  player  40  has  executed  a  fine  "high"  jump 
and  is  going  to  lay  the  ball  against  the  backboard.  The  eyes  are 
concentrated  on  a  spot  on  the  backboard. 


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Left  Hand  Lay-Up 


Player  40,  a  natural  Rightie,  is  executing  a  left-hand  lay-up  in  a 
vital  game.  Note  the  concentration  and  the  body  control.  Also  the 
height  of  the  leap. 


One-Hand  Jump  Shot  Hand  Technique 


Note  the  high  leap,  the  protection  by  the  left  hand,  and  the 
height  of  ball  owing  to  straight  right  arm.  The  ball  is  controlled  by 
the  fingers  (the  palm  is  not  touching  the  ball). 


Follow-Through  After  One-Hand  Jump  Shot 


This  is  a  fine  photo  of  the  fingertip  control  and  follow-through 
of  a  one-hand  jump  shot  in  an  actual  game.  Form  pays  off.  Always! 


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building  a  style 
of  play 

THEORY  OF  TEAM  OFFENSE 
the  two-three 

It  is  my  opinion  that  the  "Two-Three"  offense  is  the  best  in 
basketball.  It  is  flexible  enough  in  attacking  the  man-to-man, 
switch,  and  combination  defenses  to  permit  the  use  of  the  five-man 
give-and-go  weave,  the  four-man  weave  with  a  post  or  pivot,  the 
four-man  roll  with  a  post  or  pivot,  the  five-man  roll,  and  the  Three- 
Two  offense.  With  a  little  variation,  it  is  versatile  enough  to  meet 
the  various  zone  defenses. 

I  believe  in  equipping  the  team  with  a  number  of  offenses  so 
that  we  will  be  prepared  to  cope  with  the  straight,  loose,  tight,  sag, 
and  floating  man-to-man;  switching;  the  man-to-man  or  zone  press; 
and/or  the  basic  zone  defenses. 

Position  responsibilities  in  the  Two-Three  offense  are  as  follows: 
The  players  in  the  back  line  are  known  as  backcourt  players  and 
are  expected  to  be  fine  passers,  excellent  outside  shooters,  expert 
dribblers,  fast-break  specialists,  and  attack  organizers  (quarter- 
backs). Two  of  the  front-line  players  are  called  corner  men  and 
are  stationed  in  the  left  and  right  corners.  The  third  man  is  known 
as  the  post  or  pivot  player  and  works  along  either  side  of  the  free- 
throw  lane  and /or  in  the  outer  half  of  the  free-throw  circle. 

150 


BUILDING    A    STYLE    OF    PLAY 


151 


Chart  27 


BASELINE 


Position  Allocations.  Players  one  and  two  are  back-line  (back- 
court)  players.  Player  four  and  Player  five  are  front-line  (corner) 
men,  and  Player  three  is  the  third  front-line   (pivot-post)  man. 


152  BUILDING    A    STYLE    OF    PLAY 

The  corner  players  should,  preferably,  be  tall  and  fast  and 
capable  of  working  at  the  post  or  pivot  position.  They  should  be 
good  shots  from  the  corners  and  sides  of  the  court,  masters  of  the 
jump  shot,  expert  at  driving  along  the  baseline  or  out  toward  the 
outer  half  of  the  free-throw  circle,  possess  strong  follow-in  ability, 
and  be  good  rebounders. 

The  pivot  or  post  man  should  be  a  good  passer,  master  of  the 
various  pivot  shots,  a  good  defensive  player,  and  an  expert  re- 
bounder. 

One  of  the  best  methods  of  selecting  players  or  determining  the 
most  outstanding  is  to  play  one  against  one.  And,  in  the  basic  of- 
fense (Two-Three),  the  value  of  "one-on-one"  play  is  not  over- 
looked. Thousands  of  clutch  games  are  won  each  year  because  a 
particular  player  on  one  team  is  superior  to  his  opponent  in  one-on- 
one  play  and  the  team  is  smart  enough  to  find  it  out  and  take  ad- 
vantage of  the  opportunity. 

Naturally,  the  use  of  the  one-on-one  requires  freedom  and  room 
to  work.  This  means  that  the  pivot  or  post  player  must  be  able  to 
work  from  a  corner  or,  if  necessary,  from  the  backcourt.  This  will 
help  to  keep  the  center  of  the  court  open  and  will  provide  the 
one-on-one  player  with  enough  room  in  which  to  maneuver. 

Our  use  of  the  Two-Three  offense  is  designed  to  give  the  players 
a  certain  amount  of  freedom  yet  force  them  to  merge  into  a  cohesive 
unit  through  a  method  of  circulation  that  maintains  floor  balance. 

The  backcourt  players  are  responsible  for  court  balance  and  are 
expected  to  initiate  and  set  up  the  plays.  They  are  regarded  as 
quarterbacks,  although  this  responsibility  will  usually  be  taken  over 
by  the  most  aggressive  and  dominant  "sparkplug."  The  two  back- 
court  players  employ  inside,  outside,  and  back  screens,  give-and-go 
tactics,  and  dribble  screens  and  blocks.  They  are  responsible  for  the 
movement  of  the  ball  and  for  offensive  as  well  as  defensive  balance. 

In  moving  and  handling  the  ball,  the  backcourt  players  are 
joined  and  supported  by  the  corner  men.  The  corner  men  are  ex- 
pected to  come  out  to  the  backcourt  to  supply  defensive  and  court 


BUILDING    A    STYLE    OF    PLAY  153 

balance  when  a  backcourt  teammate  cuts  for  the  basket.  This  is  one 
of  the  vital  reasons  for  including  them  in  the  four-man  weave. 

Big  men  are  effective  in  setting  up  post-screens.  When  a  smaller 
teammate  cuts  around  them,  a  switch  may  develop.  If  so,  it  will  pit 
the  smaller  backcourt  player  against  a  taller  opponent  who  may  not 
be  able  to  match  the  cutter's  speed.  The  corner  men  are  expected 
to  supplement  the  post-pivot  player  in  offensive  rebounding. 

Development  of  a  tall,  strong  player  for  post-pivot  duties  is  im- 
portant. This  player  is  the  key  man  in  the  Two-Three.  He  should 
have  good  footwork,  be  able  to  rebound,  block,  and  handle  the  ball. 
Unless  he  has  obtained  a  good  scoring  spot  near  the  basket  and  a 
teammate  in  possession  of  the  ball  is  in  a  favorable  "feeding"  posi- 
tion, he  should  meet  all  passes,  using  his  legs  and  body  to  block  his 
opponent  away  from  the  ball.  The  pivot-post  man  should  be  able 
to  blend  in  with  the  give-and-go  weave  and  should  be  an  expert  at 
one-on-one  play. 

Offensively,  it  is  a  coach's  responsibility  to  see  that  his  team  is 
equipped  for  the  following  game  situations: 


OFFENSE  CHECKLIST 
1 

To  control  or  steal  the  tap 

2 
Jump-ball  plays 

3 
Out-of-bounds  plays 

4 
The  fast  break 

5 
The  single-pivot  offense 

6 
The  single-post  offense 


154  BUILDING    A    STYLE    OF    PLAY 

7 
A  spread  offense  (center  kept  open) 

8 
Crash  the  offensive  backboard 

9 
Possession  of  the  ball  (the  stall) 

10 
Freeze  the  ball 

11 

Meet  the  press  (man-to-man  and  zone) 
Semi-press 
Half-court  press 
Full  press 

12 

Beat  the  sag  and  float 

13 
Attack  the  man-to-man  variations 

14 
Penetrate  the  zones 


ADVANCING  THE  BALL 

Advancing  the  ball  to  the  front  court  is  not  as  simple  as  it  may 
appear.  Not  infrequently  a  game  is  lost  or  an  important  basket  is 
scored  through  an  interception  on  the  pass-in  from  out-of-bounds 
under  the  opponents'  basket.  Following  a  score,  a  player  of  the 
team  that  has  just  scored  the  basket  may  play  "dummy"  and  start 
up  court.  Then,  with  perfect  timing,  he  will  turn  and  make  the 
interception.  An  easy  two  points  usually  follow.  This  interception 
is  usually  made  because  the  player  taking  the  ball  out  of  bounds 


BUILDING    A    STYLE    OF    PLAY  155 

makes  a  hurried  or  careless  pass  to  a  teammate,  disregarding  the 
nearby  opponent. 

Advance  opportunities  follow  interceptions,  recovery  of  loose 
balls,  rebounds,  held  balls,  out-of-bounds  plays,  a  scoring  shot  from 
the  field,  or  following  a  successful  or  unsuccessful  free  throw. 

Surprise  defensive  moves  are  the  rule  rather  than  the  exception 
in  basketball  as  it  is  played  today.  Many  of  these  surprise  defenses 
are  applied  before  the  ball  crosses  the  ten-second  line.  Today,  the 
press  or  some  other  form  of  a  forcing  defense  is  used  at  one  time 
or  another  in  practically  every  game  played. 

The  advance  following  an  interception,  recovery  of  a  loose  ball, 
or  a  "deep"  rebound  is  made  so  quickly  that  the  opponents  usually 
forget  everything  except  speeding  for  their  defensive  positions  at 
the  other  end  of  the  court.  Under  these  conditions,  use  of  the  press 
or  some  other  form  of  a  forcing  defense  is  impossible.  However,  fol- 
lowing a  free  throw,  successful  or  not,  an  out-of-bounds  play,  a 
successful  shot  from  the  field,  jump-ball  situations,  and  most  short 
rebounds — some  sort  of  the  press  is  possible. 

If  the  opponents  are  behind  in  the  score,  such  surprise  tactics  are 
to  be  expected.  Most  assuredly  the  well-coached  team  should  be 
prepared  to  meet  these  defensive  moves. 

Front-line  players  often  break  upcourt  to  reach  their  attack  posi- 
tions immediately  after  a  score.  Quite  often,  too,  they  turn  their 
backs  and  leave  the  backcourt  players  to  bring  the  ball  upcourt  as 
best  they  can.  Here,  a  careless  dribbler  may  fall  for  an  opponent's 
dummy  play  and  a  sudden  attack  may  result  in  loss  of  the  ball.  In 
some  cases  the  two  backcourt  players  may  pass  the  ball  back  and 
forth  while  advancing  upcourt  and  be  unprepared  for  a  sudden 
defensive  move. 

The  coach  must  make  sure  that  his  team  is  prepared  to  meet  any 
and  all  of  these  surprise  moves  in  the  slow  advance.  Front-line 
players  must  be  coached  to  advance  with  their  eyes  focused  on  their 
backcourt  teammates,  prepared  to  break  back  toward  the  ball 
should  help  be  needed. 


156  BUILDING    A    STYLE    OF    PLAY 

The  player  taking  the  ball  out  of  bounds  following  a  score  should 
always  watch  nearby  opponents  and  use  a  fake  before  releasing  the 
ball.  Dribblers  should  protect  the  ball  by  dribbling  more  slowly  and 
carefully,  making  sure  that  a  teammate  is  near  at  hand  should  a 
sudden  pass  be  necessary.  If  two  backcourt  players  are  passing  the 
ball  back  and  forth  while  advancing,  they  should  make  sure  their 
passes  do  not  take  them  too  close  to  opponents. 

When  scouting  notes  or  bitter  game  experience  warn  a  team  that 
the  opponents  use  these  surprise  moves,  three  men  may  be  assigned 
to  bring  the  ball  upcourt  in  the  slow  advance.  These  players  may 
use  screening  tactics  for  the  advance,  weaving  and  cutting  from 
side  to  side  to  protect  the  ball. 

THE  FAST  BREAK 

The  fast  break  is  the  most  important  offensive  system  in  basket- 
ball. It  is  used  by  practically  every  coach  in  the  game,  and  its 
effectiveness  is  usually  determined  by  the  amount  of  time  spent  in 
developing  and  exploring  its  possibilities.  The  chief  objective  is  to 
advance  the  ball  into  a  scoring  area  before  the  opponents  have  a 
chance  to  get  into  defensive  position.  Second  in  importance  is  the 
outnumbering  of  the  defensive  opponents  so  that  an  attacking  player 
may  secure  an  unguarded  shot. 

Efficient  use  of  the  fast  break  results  in  numerous  easy  and  quick 
scores  which  often  demoralize  a  good  team.  The  fast  break  is  color- 
ful, full  of  sparkling  plays,  and  a  sure  crowd-pleaser.  All  players 
enjoy  the  action  because  of  the  speed  and  dash  with  which  it  is 
executed. 

Some  coaches  advocate  the  use  of  a  weave  in  the  break  down  the 
floor.  Others  operate  on  the  theory  that  a  straight  line  is  the  short- 
est distance  between  two  points  and  advance  their  players  in  straight 
lines.  One  coach  advocates  the  use  of  the  short  pass  while  others 
feature  the  long  pass.  Another  coach  attempts  to  eliminate  the 
dribble,  and  still  another  believes  it  is  the  best  and  safest  method 
possible  to  advance  the  ball. 


BUILDING    A    STYLE    OF    PLAY  157 

Some  teams  employ  the  "press"  during  the  entire  game,  and  it 
may  well  be  said  that  their  offense  is  a  consistent  and  continuous 
use  of  the  fast  break.  However,  these  teams  are  in  the  minority;  the 
majority  of  coaches  believe  in  combining  use  of  the  fast  break  with 
a  set  or  formal  offense. 

The  fast  break  is  a  team  offense.  It  lends  itself  to  innumerable 
plays  and  can  be  used  following  every  recovery  of  the  ball.  I  believe 
in  a  controlled  fast  break  with  an  emphasis  on  short  passes.  If  the 
fast  break  is  to  be  most  effective,  the  'team  must  be  aggressive  and 
prepared  to  take  chances.  Since  it  is  important  to  get  down  the 
floor  as  quickly  as  possible,  certain  players  often  break  before  their 
team  gains  possession  of  the  ball.  In  a  number  of  instances  a  team- 
mate may  be  in  an  uncontested  position  to  secure  possession  of  the 
ball  and  the  quick  dash  downcourt  may  result  in  a  long,  successful 
pass  and  an  easy  basket. 

The  fast  break  from  a  man-to-man  defense  differs  greatly  from 
the  break  from  a  zone  defense.  In  fact,  many  coaches  feel  that  the 
positioning  of  the  "chasers"  and  the  "rebounders"  and  the  ease  with 
which  a  fast  break  may  be  initiated  are  the  determining  factors  in 
recommending  the  use  of  the  zone  as  the  basic  defense.  Since  the 
zone  players  have  assigned  areas  (even  when  shifting),  the  re- 
bounder  can  easily  locate  a  receiver  for  his  outlet  pass.  Further, 
use  of  the  zone  enables  the  coach  to  place  good  rebounders  near 
the  basket  and  the  fast  cutters  in  fast-break  positions. 

The  long  pass  is  the  most  difficult  pass  in  the  game.  Some  players 
never  master  the  control  necessary  to  use  it  accurately,  and  many 
players  have  difficulty  in  catching  the  speeding  ball.  Further,  the 
long,  diagonal  outlet  pass  lends  itself  to  more  interception  oppor- 
tunities than  the  short  pass.  A  long  pass  should  not  be  made  to  a 
teammate  unless  he  is  all  alone  or  there  is  plenty  of  daylight  around 
him. 

The  dribble  is  of  great  value  in  the  fast  break  because  it  limits, 
to  a  certain  extent,  bad  passes  and  fumble  possibilities.  In  certain 
situations  the  dribble  is  the  best  weapon  to  use  in  avoiding  intercep- 
tion attempts.  In  addition,  the  use  of  the  dribble  in  the  center  lane 


158  BUILDING    A    STYLE    OF    PLAY 

after  the  front  court  is  reached  places  the  ball  in  the  middle  of  the 
floor  and  gives  the  outside-lane  cutters  more  freedom  in  maneuver- 
ing for  good  shooting  positions. 

In  some  fast  breaks,  teammates  in  the  outside  lanes  wait  until 
the  receiver  of  the  outlet  pass  gets  the  ball  before  advancing  down- 
court.  This  spreads  the  breaking  players  across  the  court  in  a 
straight  line  and,  of  course,  insures  better  passing.  In  other  usage 
of  the  fast  break  the  players  make  every  attempt  to  get  ahead  of  the 
ball.  They  drive  for  their  basket  immediately,  filling  the  closest  lane. 
Properly  used,  this  is  not  a  haphazard  advance.  The  man  with  the 
ball  is  able  to  speed  the  advance  since  he  has  receivers  ahead  to 
whom  he  can  pass.  The  players  out  in  front  of  the  ball  are  moving 
in  predetermined  paths  and  expect  the  ball.  If  they  are  advancing 
properly,  one  of  the  "sweepers"  will  usually  be  in  a  good  position  to 
receive  the  pass. 

The  following  principles  are  recommended. 

FAST-BREAK  PRINCIPLES 
1 

Every  player  on  the  defense  should  be  fast-break  conscious.  He 
should  be  aware  of  his  rebounding  and  lane  responsibilities 
should  a  fast-break  opportunity  present  itself,  and  he  should  im- 
mediately execute  his  move. 


Fast  breaks  develop  out  of  fumbles,  interceptions,  loose  balls, 
backboard  rebounds,  successful  and  unsuccessful  field  and  free- 
throw  attempts,  jump  balls,  and  out-of-bounds  situations.  Natu- 
rally, the  break  starts  from  the  point  at  which  the  ball  is  recov- 
ered. The  players  should  be  so  schooled  in  the  method  of  advance 
and  the  techniques  of  the  particular  fast  break  required  that  they 
react  from  any  of  the  above  situations  without  the  slightest  hesi- 
tation. 


Since  the  majority  of  fast  breaks  develop  from  rebounds,  secur- 
ing the  ball  is  of  vital  importance.  Following  a  shot,  all  defen- 


BUILDING    A    STYLE    OF    PLAY  159 

sive  players  should  first  get  position  between  their  opponents 
and  the  basket.  After  a  good  blocking-out  position  is  obtained, 
the  defensive  player  divides  his  attention  between  his  opponent 
and  the  direction  of  the  rebound.  When  the  direction  of  the  re- 
bound has  been  clearly  determined,  the  player  may  leave  his 
opponent  to  catch  the  ball. 

All  too  frequently,  when  a  shot  is  taken,  a  defensive  player  in 
a  good  blocking  position  will  turn  away  from  his  opponent  and 
hazard  a  guess  at  the  direction  of  the  rebound.  Should  a  deep 
rebound  result  or  should  the  ball  be  deflected  in  another  direc- 
tion, his  opponent  may  make  the  recovery  simply  because  he  has 
not  been  properly  blocked  away  from  the  basket. 


The  rebounder  should  get  the  outlet  pass  away  quickly  and 
safely.  He  should  then  back  up  the  pass  in  case  there  is  an  inter- 
ception or  a  fumble. 


Filling  the  fast-break  lanes  should  be  initiated  as  soon  as  the 
ball  is  safely  in  the  hands  of  the  rebounder.  The  players  nearest 
the  sidelines  should  fill  the  outside  lanes.  They  should  move 
laterally  and  in  such  manner  that  they  can  see  the  ball.  Before 
reaching  the  sidelines  they  should  turn  inward  and  be  prepared 
for  a  pass  should  the  rebounder  so  elect. 

The  player  who  normally  fills  the  middle  lane  should  be  given 
the  opportunity.  However,  if  he  is  the  rebounder,  or  is  in  a  poor 
position,  another  player  should  fill  the  lane  and  fulfill  the  neces- 
sary requirements. 


Following  the  outlet  pass,  all  others  should  be  short  and  fast. 
The  dribble  should  be  eliminated  unless  the  player  is  caught  in 
a  poor  passing  position  and  must  dribble  to  avoid  travelling.  In 
some  situations  the  player  is  forced  to  dribble  because  potential 
receivers  are  covered.  The  three  players  in  the  first  wave  should 
continue  downcourt  on  straight  lines,  passing  the  ball  from  side 
to  side  until  the  front  court  is  reached.  By  this  time,  the  scoring 
possibilities  are  evident.  A  three-on-two  or  even  a  three-on-one 
situation  may  be  present. 


160  BUILDING    A    STYLE    OF    PLAY 


As  soon  as  the  possible  scoring  situation  is  evident,  the  players 
should  maneuver  for  the  open  shot.  If  the  player  driving  down 
the  center  lane  has  been  able  to  get  the  ball  as  he  reaches  the 
outer  half  of  the  free-throw  circle,  he  should  stop  just  short  of 
the  free-throw  line  and  prepare  to  attempt  a  shot.  If  a  defensive 
opponent  attempts  to  stop  the  shot,  one  of  the  outside-lane 
sweepers  will  be  free  for  the  pass  and  should  have  a  clear  shot. 


Charts  29-32  show,  in  some  part,  the  use  of  the  fast  break  from 
certain  game  situations.  Space  does  not  permit  presenting  all  the 
situations  from  which  a  fast  break  originates,  but  the  principles 
used  are  effective  in  the  great  majority  of  fast-break  opportunities. 

The  inside  rebound  area  (see  Chart  28)  is  to  be  filled  with  the 
expert  rebounders  when  possible.  They  fill  the  spaces  under  the 
basket  until  they  form  a  triangle.  These  positions  should  be  ob- 
tained only  after  they  have  blocked  their  opponents  away  from  the 
basket.  In  this  connection,  many  tall  rebounders  develop  the  ability 
to  retrieve  the  ball  at  the  height  of  their  leap,  twist  in  the  air,  and 
fire  an  outlet  pass  accurately  before  hitting  the  floor.  The  hook 
pass  is  usually  employed  in  this  "in-the-air"  pass. 

The  safety  area  for  rebounders  is  located  just  outside  the  inside 
rebound  area  and  is  used  only  when  the  rebounder  cannot  get  the 
ball  away.  He  may  dribble  to  this  safety  area  or  pass  the  ball  to  a 
teammate  in  the  area.  Rebounders  are  frequently  guarded  so  closely 
that  they  cannot  make  an  immediate  outlet  pass.  In  this  situation 
the  rebounder  may  whirl  suddenly  and  dribble  out  of  the  rebound 
area  and  downcourt  before  passing. 

The  short-pass  area  begins  at  the  free-throw  line  and  extends 
three  feet  beyond  the  edge  of  the  outer  half  of  the  free-throw  circle. 
The  majority  of  outlet  passes  are  directed  to  receivers  in  this  area. 
Some  fast-break  styles  concentrate  on  a  direct  pass  to  a  dribbler 
in  the  outer  half  of  the  free-throw  circle  after  every  rebound.  The 
receiver  then  dribbles  down  the  center  lane  while  his  teammates 


BUILDING    A    STYLE    OF    PLAY 


161 


Chart  28 


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fill  the  outside  lanes.  It  is  a  conservative  and  highly  effective  fast 
break  and  eliminates  much  of  the  danger  of  bad  passes,  intercep- 
tions, and  fumbles  found  in  the  passing  game. 


162 


BUILDING    A    STYLE    OF    PLAY 


Most  coaches  feel  that  it  is  important  to  fill  the  area  near  the 
free-throw  line  to  prevent  opponents  from  obtaining  possible  deep 
rebounds. 

The  long-pass  area  extends  from  the  short-pass  area  to  the  ten- 
second  line.  Long  passes  should  be  thrown  to  teammates  in  this 
area  only  when  they  are  completely  free.  Many  outlet-pass  inter- 
ceptions occur  in  this  area. 

The  cutting  lanes  extend  from  the  short-pass  area  to  the  front- 
court  baseline.  The  inside  lane  is  the  most  direct  to  the  goal.  The 
small  star  in  the  center  lane  is  placed  near  the  spot  where  the 
dribbler  or  center  man  should  begin  to  slow  down  so  that  he  may 
safely  stop  short  of  the  free-throw  line  (large  star).  The  right  and 
left  outside  lanes  extend  to  the  baseline;  teammates  in  this  area 
should  not  expect  the  outlet  pass  unless  they  are  completely  free. 

The  angles  in  the  front  corners  of  the  outside  lanes  are  inserted 
to  accentuate  the  importance  of  sweeping  the  corners  and  approach- 
ing the  basket  along  the  baseline  (behind  the  defensive  opponents). 

Chart  29 


BUILDING    A    STYLE    OF    PLAY 


163 


Chart  29  shows  the  rebound  in  operation  when  a  conservative 
fast-break  style  is  used.  Players  A,  B,  and  C  are  in  the  triangle 
formation  under  the  basket.  Players  D  and  E  have  filled  the  outer 
half  of  the  free-throw  circle.  When  possession  of  the  ball  is  assured, 
players  D  and  E  move  laterally  to  the  sidelines,  crossing  one  an- 
other as  shown  to  escape  opponents  if  being  pressed.  In  cutting 
toward  the  sidelines  in  this  manner  they  place  themselves  in  safer 
positions  to  receive  a  pass  from  the  rebounders,  since  they  are  mov- 
ing slightly  toward  the  ball. 

In  Chart  29  the  ball  is  being  rebounded  by  player  B,  who  passes 
on  the  same  side  to  teammate  E  who  is  moving  toward  him.  Player 
E  dribbles  until  he  is  in  the  clear  or  until  teammate  D  has  reached 
the  center  lane.  Then  E  passes  to  D  and  continues  down  the  left 
lane.  Player  D  may  pass  immediately  to  teammate  C  or  dribble  to 
get  complete  control  of  the  ball  before  passing.  Player  A  follows 
up  the  center  lane  as  the  "trailer."  Note  that  rebounder  B  has  fol- 
lowed the  ball  after  passing  to  E. 

Chart  30 


164 


BUILDING    A    STYLE    OF    PLAY 


The  fast  break  shown  in  Chart  30  comes  off  a  zone  defense  with 
the  express  purpose  of  getting  the  ball  immediately  to  the  outstand- 
ing dribbler  and  scorer  (player  D),  who  drives  down  the  center  of 
the  court.  A  block  may  or  may  not  be  set  by  teammate  E. 

This  type  of  fast  break  fills  the  lanes  quickly  and  depends  on  the 
skill  of  the  expert  dribbler  to  advance  the  ball  into  scoring  terri- 
tory. The  dribbler  is  always  a  dead  shot  from  the  free-throw  line 
where  he  sets  and  shoots  unless  guarded.  When  guarded,  he  passes 
to  one  of  the  sweepers,  or  to  the  trailer. 

Chart  31 


BUILDING    A    STYLE    OF    PLAY  165 

Chart  3 1  shows  the  closing  phase  of  the  fast  break.  Player  D  has 
received  the  ball  from  teammate  C  and  has  slowed  down  to  main- 
tain a  control  dribble  and  to  draw  one  of  the  two  opponents  out  to 
guard  him.  Player  D  will  stop  short  of  the  free-throw  line  prepared 
to  shoot  or  to  pass  to  sweepers  E  or  C. 

If  dribbler  D  has  difficulty  in  attempting  a  shot  or  passing  to 
one  of  the  sweepers,  he  will  cut  through  the  lane  toward  the  basket. 
If  a  pass  is  made  to  the  right  or  to  the  left,  the  trailer  will  cut  on  the 
side  away  from  the  receiver  of  the  ball. 

Note  that  players  E  and  C  have  continued  on  under  the  basket 
and  have  circled  back.  This  is  shown  because  sweepers  often  out- 
distance the  middle  man  and  should  do  something  to  distract  the 
opponents.  Continuing  on  under  the  basket  enables  them  to  ex- 
change positions  and  disturb  the  defensive  players. 

It  is  important  that  the  center  lane  be  filled  by  an  expert  dribbler 
who  is  also  a  good  shot  from  the  vicinity  of  the  free-throw  line.  He 
should  be  a  fine  passer  and  able  to  fake  a  pass  one  way  and  feed 
the  ball  another.  Frequently,  he  can  leap  in  the  air,  fake  a  shot,  and 
pass  to  the  unguarded  teammate.  Bounce  passes  are,  of  course, 
imperative  in  this  under-the-basket  passing  unless  a  teammate  is 
completely  free. 

Chart  32  shows  the  fast  break  from  an  unsuccessful  free  throw. 
(Most  unsuccessful  free  throws  rebound  to  the  right. )  Rebounder  A 
got  the  ball.  As  soon  as  players  B,  C,  D,  and  E  saw  that  teammate 
A  made  the  rebound,  they  broke  as  shown. 

The  takeoff  path  of  player  C  should  force  backcourt  opponent  5 
to  retreat  to  the  defense.  The  dash  down  the  left  outside  lane  by 
player  D  should  force  player  4  to  retreat,  thus  clearing  the  way  for 
player  A  to  make  a  good  outlet  pass  to  teammate  B. 

Player  E  should  arrive  at  the  center  of  the  court  in  the  center 
lane  in  time  to  receive  the  ball  from  teammate  B;  he  can  now  pass 
or  dribble  the  ball  downcourt.  Player  C  often  beats  the  defense  back 
and,  if  clear,  may  be  hit  with  a  long  pass. 


166 


BUILDING    A    STYLE    OF    PLAY 
Chart  32 


FAST-BREAK  TIPS 
I  1 

The  rebounder  should  pass  to  a  receiver  on  the  same  side  of  the 
court  when  possible. 


Dribbling  to  the  corner  gives  opponents  time  to  retreat  and  set 
up  their  defense.  Get  the  ball  on  its  way  as  quickly  as  possible 
with  a  pass. 


The  pass  to  a  teammate  in  an  outside  lane  should  be  aimed  at 
the  outside  shoulder  so  he  may  pivot  away  from  an  opponent 
who  tries  to  intercept  the  ball. 

4 

Outside-lane  cutters  should  get  going.  They  should  not  wait  for 
their  center-lane  teammate.  Put  the  pressure  on  the  opponent. 


BUILDING    A    STYLE    OF    PLAY  167 

5 

All  passes  except  the  outlet  pass  should  be  short.  Don't  attempt 
cross-court  passes  from  one  outside  lane  to  the  other. 

6 

If  a  cutter  advances  so  far  ahead  of  his  teammates  that  a  play 
is  impossible,  he  should  drive  along  the  baseline  to  the  other 
side  of  the  court  and  circle  back  toward  the  basket  on  that  side. 


Don't  be  afraid  to  yell  when  you  are  free.  And  don't  yell  when 
you  are  not  free. 

8 

Outside-lane  cutters  should  avoid  dribbling  unless  the  teammate 
in  the  center  lane  is  covered.  Get  the  ball  to  the  middle  of  the 
court  when  the  front  court  is  reached. 


Keep  spread  in  the  drive  down  the  court.  Outside-lane  sweepers 
must  "square"  the  corners  and  continue  along  the  baseline  to 
the  other  side  of  the  court  if  they  are  "ahead"  of  the  play. 

10 

The  middle  man  should  dribble  straight  for  the  free-throw  line 
and  plan  to  stop  there  for  a  shot  or  a  pass  to  an  uncovered  team- 
mate. However,  he  should  continue  his  drive  when  defensive 
opponents  are  out  of  position. 


GIVE-AND-GO  WEAVE 

The  give-and-go  weave  is  the  basic  circulation  used  in  the  North 
Carolina  University  attack.  The  circulation  may  start  from  any 
point  in  the  front  court  but  usually  begins  as  in  the  blackboard 
diagram  shown  here.  Player  1  passes  to  teammate  2  and  cuts  for 
the  basket.  Note  that  the  cut  is  made  directly  down  the  lane  and 
under  the  basket  before  player  1  turns  for  the  righthand  corner  to 


Give-and-Go  Weave 


BUILDING    A    STYLE    OF    PLAY  169 

replace  player  4.  As  player  1  cuts  for  the  basket  he  raises  his  left 
hand  high  in  the  air  as  a  target  hand  in  case  teammate  2  wishes  to 
return  the  pass. 

Player  2  may  pass  immediately  to  teammate  3  or  dribble  as 
shown  before  passing  the  ball  to  3.  In  the  blackboard  diagram 
shown  here  player  2  dribbles  and  then  passes  to  3.  He  then  cuts 
directly  for  the  basket,  raising  his  right  hand  as  a  target  hand  should 
player  3  wish  to  return  the  pass.  When  the  ball  is  not  returned, 
player  2  drives  on  under  the  basket  and  then  turns  left  to  replace 
player  5  in  the  corner. 

The  corner  players,  4  and  5,  replace  the  backcourt  players  and 
take  their  turns  in  receiving  the  ball,  passing  and  cutting  down  the 
lane  to  the  basket. 

The  give-and-go  weave  is  an  excellent  medium  for  teaching  pass- 
ing, cutting,  footwork,  and  teamwork,  and  in  developing  player 
condition.  An  important  part  of  the  give-and-go  weave  is  the  teach- 
ing of  timing  with  relation  to  the  execution  of  passes  and  player 
movement. 

Most  players  like  to  execute  the  give-and-go  weave  at  full  speed, 
but  it  may  easily  be  slowed  down  through  the  use  of  the  dribble 
and  passing  up  the  next  receiver.  A  change  of  pace  in  the  use  of 
this  weave  may  be  executed  by  reversing  the  direction  of  the  pass. 

The  give-and-go  weave  lends  itself  to  the  use  of  inside  and  out- 
side screens  and,  when  incorporated  with  the  dribble-block,  change- 
ups,  and  moving  posts  and  pivots,  becomes  a  fine  offense. 

The  weave  can  be  used  to  freeze  the  ball.  This  will  be  discussed 
in  Chapter  4  under  "freezing  the  ball." 

Charts  33-35  show  the  use  of  the  weave  with  inside  and  out- 
side screens  and  with  a  post  or  a  pivot. 

Chart  33  shows  use  of  the  inside  screen  in  the  give-and-go  weave. 
Player  1  passes  the  ball  to  teammate  2  and  cuts  between  2  and  de- 
fensive opponent  B  (inside  screen).  He  then  cuts  back  toward  the 
basket  and,  if  he  does  not  receive  a  return  pass,  fades  right  along 
the  baseline  to  the  right  corner  to  maintain  the  continuity  and  to 
replace  player  5. 


170 


BUILDING    A    STYLE    OF    PLAY 
Chart  33 


After  receiving  the  ball  from  teammate  1,  player  2  fakes  a  re- 
turn pass  to  him  and  then  dribbles  laterally  across-court.  Player  2 
then  passes  to  teammate  3,  cuts  in  front  of  defensive  opponent  C 
(inside  screen),  and  cuts  for  the  basket.  If  he  does  not  receive  a 
return  pass,  he  fades  left  along  the  baseline  to  the  left  corner  to 
maintain  the  continuity  and  replace  player  4.  The  continuity  con- 
tinues in  this  manner  with  player  4  and  player  5  replacing  player  1 
and  player  2  and,  in  turn,  using  the  inside  screen  and  cutting  for 
the  basket. 

Chart  34  shows  use  of  the  outside  screen  in  the  give-and-go 
weave.  Player  1  passes  the  ball  to  teammate  2  and  cuts  close  be- 
hind defensive  opponent  B  (outside  screen).  He  then  drives  for  the 
basket  and  fades  left  to  the  left  corner  to  maintain  the  continuity 
and  to  replace  teammate  4. 

After  receiving  the  ball  from  teammate  1,  player  2  fakes  a  re- 
turn pass  to  him,  advances  slightly  with  a  dribble,  and  passes  to 
teammate  3.  He  then  cuts  close  behind  defensive  opponent  C  (out- 
side screen)  and  drives  for  the  basket.  If  he  does  not  receive  a 
return  pass  from  teammate  3,  player  2  fades  right  along  the  base- 


BUILDING    A    STYLE    OF    PLAY 


171 


Chart  34 


line  to  the  right  comer  to  maintain  the  continuity  and  to  replace 
teammate  5.  The  continuity  continues  in  this  manner  with  player  4 
and  player  5  replacing  teammate  1  and  teammate  2  and,  in  turn, 
using  the  outside  screen  and  cutting  for  the  basket. 

Chart  35  shows  the  give-and-go  weave  with  a  post-pivot.  Player  1 
passes  to  teammate  2  and  screens  inside  or  outside.  He  then  cuts 
directly  down  the  lane  for  the  basket  and  around  and  in  back  of 
pivot-player  5.  He  continues  along  the  baseline  to  the  right  corner 
to  replace  teammate  4. 

After  receiving  the  ball  from  teammate  1,  player  2  dribbles  to 
the  left,  passes  to  teammate  3,  and  cuts  down  the  lane  to  and  under 
the  basket  and  along  the  baseline  to  the  left  corner. 

Player  4  has  now  reached  the  backcourt.  When  pivot  player  5 
moves  out  along  the  lane,  player  4  cuts  hard  around  the  block  set 
by  5  and  drives  toward  the  basket  expecting  a  pass  from  3. 

If  player  3  does  not  make  the  pass,  pivot  player  5  may  cut  to 
the  outer  half  of  the  free-throw  circle  and  set  up  a  blocking  post  or 
else  retreat  to  a  pivot  position  under  the  basket  (side  of  the  lane). 


172 


BUILDING    A    STYLE    OF    PLAY 
Chart  35 


Player  1  will  have  returned  to  the  backcourt  by  this  time  and 
the  continuity  may  be  continued  with  player  3  passing  to  team- 
mate 1  and  cutting  for  the  basket. 


UTILIZING  THE  BIG  MAN 

I  regard  the  big  man  as  the  key  player  in  the  Two-Three  offense. 
His  development  or  education  in  the  skills  that  may  be  utilized  in 
the  offense  is  vital  to  its  success.  Although  the  ability  to  score  is 
important,  it  should  not  take  precedence  over  the  ability  to  play 
defense  (block-out,  switch,  rebound)  and  to  blend  into  the  offense 
by  handling  the  ball,  getting  the  rebound  outlet-pass  away,  general 
screening,  setting  up  blocking  plays,  cutting,  and  following  in. 

Defensively,  the  big  man  must  be  able  to  carry  his  share  of  the 
load.  Championship  teams  and  championship  contenders  usually 
feature  a  big  man  who  presents  a  defensive  problem.  The  opponents' 
big  man  must  be  met  on  even  terms.  Your  own  big  man  should  be 
prepared  to  play  the  opposing  giant  from  behind,  on  the  side,  or  in 


1 


BUILDING    A    STYLE    OF    PLAY  173 

front,  and  should  have  the  ability  to  keep  up  with  him  in  the 
corners  or  out  on  the  court. 

Naturally,  such  personal  skills  as  shooting,  faking,  and  feinting 
should  be  developed  to  the  fullest  extent.  The  fakes  must  include 
foot  fakes  and  fakes  with  the  hands  and  with  the  ball.  The  feints 
must  include  use  of  the  head,  eyes,  and  the  body.  The  drill  catalog 
concluding  this  book  contains  special  drills  that  will  assist  in  teach- 
ing the  big  man  these  fundamentals.  Special  stunts  such  as  pitting 
the  big  fellow  against  a  smaller  man  in  one-on-one  play  will  help 
in  his  development. 

Rope  skipping,  bag  punching,  shadow  boxing,  dancing,  "tap-in" 
drills,  the  day-after-day  squeezing  of  a  handball,  and  the  use  of  a 
medicine  ball  for  finger,  wrist,  and  arm  development — all  are  im- 
portant. 

Special  practice  in  "two-on-two"  play  is  valuable  in  the  develop- 
ment of  the  big  man  since  here  he  will  learn  the  vital  man-to-man 
defensive  moves  (front-slide-stay-switch)  as  well  as  fast  and  ac- 
curate passing  and  cutting. 

The  pivot  player  must  learn  through  actual  competition  how  to 
secure  and  hold  position  on  his  opponent.  Many  big  fellows  lack 
the  timing  sense  necessary  in  obtaining  position;  they  arrive  too 
early  or  too  late.  Some  big  men  master  the  timing  requirements  but 
lack  the  ability  to  handle  the  ball  effectively  when  they  receive  it. 

Among  the  most  difficult  qualities  to  teach  the  big  man  are  poise 
and  confidence.  He  must  realize  that  he  is  the  pivot  around  which 
the  offense  evolves.  As  soon  as  he  is  aware  of  this,  he  should  be 
forced  to  take  charge.  He  should  signify  by  hand  or  other  signals 
when  he  wants  the  ball  and  where  he  expects  it  to  be  thrown.  His 
moves  must  be  made  with  sureness  and  confidence. 

The  ability  to  pivot  away,  pivot  back,  cut  under  the  basket  and 
reverse  back  to  the  desired  position  is  important  in  securing  a  good 
scoring  position;  this  ability  is  acquired  only  by  long  hours  of  prac- 
tice. The  know-how  necessary  to  fake  a  shot  and  drive  around  an 
opponent  or  to  fake  a  dribble  and  take  the  shot,  again,  comes  only 
after  hard  and  patient  work,  as  does  the  ability  to  set  up  blocks, 
posts,  and  turnaround  positions. 


174 


BUILDING    A    STYLE    OF    PLAY 


Two  of  the  most  important  blocks  are  the  dribble-block  and  the 
"turnaround  play."  A  description  of  two  of  the  dribble-blocks  fol- 
lows. 

A  dribble-block  occurs  when  a  player  with  the  ball  dribbles  to 
a  position  behind  a  teammate's  opponent  and  sets  himself  in  a  legal 
blocking  position  (a  space  of  at  least  three  feet).  The  blocker  may 
be  facing  toward  the  basket  or  away  from  the  basket  (back-up 
position). 

Once  the  big  man  has  established  the  block  position,  he  holds 
fast  prepared  to  give  the  teammate  the  ball  should  he  succeed  in 
maneuvering  his  opponent  into  the  block.  As  soon  as  contact  oc- 
curs, the  big  man  uses  a  hand-off  to  pass  the  ball  to  the  cutter.  (If 
the  big  man  is  facing  the  basket,  he  may  bounce  the  ball  to  his  cut- 
ting teammate.) 

If  a  switch  occurs,  the  big  man  should  have  the  inside  position 
on  his  teammate's  opponent  (the  player  blocked)  and  a  fast  cut 
should  be  made  to  the  basket. 


Chart  36 


In  Chart  36  offensive  player  1  has  dribbled  to  a  position  behind 
teammate  2's  opponent  B.  Facing  the  basket,  player  1  holds  his 
position  protecting  the  ball  and  anticipating  that  teammate  2  will 
maneuver  guard  B  into  the  block.  Player  2  manages  to  do  so  and 
then  cuts  for  the  basket.  Player  1  gives  the  ball  to  teammate  2  and 


BUILDING    A    STYLE    OF    PLAY 


175 


may  cut  either  to  the  right  or  to  the  left  to  elude  opponent  B  should 
his  personal  guard  A  switch. 


Chart  37 


In  Chart  37  post-pivot  player  1  has  dribbled  to  a  position  behind 
the  man  guarding  teammate  2.  Facing  away  from  the  basket, 
player  1  establishes  a  legal  block  (three  feet  from  the  opponent)  and 
waits  for  player  2  to  maneuver  opponent  B  into  the  block.  Player  2 
fakes  right,  and  then  drives  left,  forcing  guard  B  into  the  block. 
Blocking  player  1  gives  the  ball  to  cutter  2.  If  defensive  player  A 
switches  to  guard  cutter  2,  player  1  will  cut  either  left  or  right  to 
avoid  defensive  player  B,  anticipating  a  return  pass.  If  opponent  A 
does  not  switch  to  cover  the  cutter,  he  (player  2)  should  have  an 
unrestricted  shot. 


THE  TURNAROUND  PLAY 


A  turnaround  play  occurs  when  a  player  in  possession  of  the  ball 
in  the  backcourt  or  near  the  sideline  floats  a  high  pass  to  a  post- 
pivot  player.  The  pass  is  purposefully  made  high  and  short  so  the 
big  man  will  be  forced  to  advance  and  leap  high  in  the  air  to  pro- 
tect and  catch  the  ball.  As  soon  as  the  big  man  catches  the  ball,  he 
pivots  to  a  position  facing  the  basket,  holding  the  ball  as  high  above 
the  head  as  possible. 


176 


BUILDING    A    STYLE    OF    PLAY 


As  soon  as  the  big  man  has  pivoted  to  face  the  basket,  the  passer 
maneuvers  right  or  left  and  then  cuts  past  the  block  in  an  attempt 
to  get  away  from  his  opponent. 

In  the  meantime,  the  big  man  is  standing  motionless,  anticipating 
contact  with  his  teammate's  guard.  Should  contact  result,  the  big 
man's  opponent  must  commit  himself  either  to  a  switch  to  cover 
the  cutter  or  to  continue  his  guarding  of  the  big  man.  If  the  big 
man's  opponent  switches,  the  big  man  may  shoot  or  dribble  into  the 
basket  for  a  lay-up.  If  the  big  man's  opponent  does  not  switch,  he 
passes  the  ball  to  the  cutter  for  an  unrestricted  shot. 


Chart  38 


Chart  38  shows  the  turnaround  play.  Player  1,  with  the  ball, 
passes  to  teammate  2.  The  pass  is  a  high,  short  pass  and  player  2 
should  leap  high  in  the  air  to  catch  the  ball  at  arm's  length.  As  soon 
as  he  has  secured  the  ball,  player  2  pivots  to  face  the  basket.  (He 
may  continue  to  hold  the  ball  above  the  head  or  bring  it  down  to 
a  dribbling  position.) 

Player  1  now  maneuvers  his  opponent  A  into  the  block  and  cuts 
for  the  basket.  If  defensive  player  B  switches  to  cutter  1,  the  big 
man  2  may  dribble  in  for  a  lay-up  or  shoot  from  his  position. 

Should  defensive  player  B  fail  to  switch,  player  2  can  pass  the 
ball  to  teammate  1  for  an  easy  shot. 


BUILDING    A    STYLE    OF    PLAY 


177 


Chart  39 


In  Chart  39  player  1  passes  the  ball  to  teammate  2  and  uses  a 
change-of-direction  cut  in  an  attempt  to  evade  his  guard.  Note  that 
player  1  is  following  the  give-and-go  weave  continuity  and  will  end 
up  in  the  righthand  corner  and  thence  back  up  the  right  sideline. 


Chart  40 


In  Chart  40  player  1  passes  to  teammate  2  and,  after  a  fake  in- 
side screen,  cuts  behind  2.  He  hopes  to  maneuver  his  guard  A  into 
a  position  where  he  will  hesitate  in  following  the  cut  for  the  basket. 


178 


BUILDING    A    STYLE    OF    PLAY 


Chart  41 


In  Chart  41  player  1  passes  the  ball  to  teammate  2  and  executes 
an  inside  screen,  continuing  on  to  a  set-shot  position  behind  2. 
Player  2  gives  player  1  an  over-the-shoulder  pass  or  back  flip  and 
cuts  for  the  basket. 


Chart  42 


In  Chart  42  player  1  passes  the  ball  to  teammate  2  and  fakes  an 
inside  screen.  He  then  falls  behind  player  2  and  receives  the  ball. 
Player  2  fakes  to  the  right  in  an  attempt  to  force  his  opponent  B 
into  a  block  with  opponent  A  and  then  drives  hard  for  the  basket 
with  his  right  hand  elevated  as  a  target  for  a  return  pass. 


BUILDING    A    STYLE    OF    PLAY 


179 


Chart  43 


In  Chart  43  player  1  passes  to  teammate  2  and  cuts  behind  in  a 
back  screen.  Player  2  now  fakes  a  back  pass.  Player  1  cuts  for  the 
basket,  elevating  his  left  hand  as  a  target  for  a  return  pass.  Note 
the  give-and-go  weave  continuity  as  player  1  fades  for  the  right 
corner  after  he  reaches  the  basket. 


Chart  44 


In  Chart  44  player  1  passes  the  ball  to  teammate  2  and  fakes  an 
inside  screen.  He  then  cuts  behind  player  2  in  a  back  screen. 
Player  2  returns  the  ball  to  player  1  and  cuts  toward  the  basket  and 
the  left  corner,  raising  his  right  hand  for  a  target  for  the  return  pass. 
The  cut  toward  the  corner  following  the  drive  for  the  basket  con- 
forms to  the  continuity  of  the  give-and-go  weave. 


f      <  <A        j-    tinny 


Turnaround   Play 
(No  Switch) 


Offensive  player  41  is  break- 
ing out  for  a  high,  short  pass 
from  teammate  40  in  the  back- 
court  (not  shown  in  the  begin- 
ning of  the  play).  Post-pivot 
player  41  gets  the  ball  and 
pivots  into  the  outside  half  of 
the  free-throw  circle.  Still  hold- 
ing the  ball  above  his  head, 
player  41  waits  for  the  block. 
His  teammate,  player  40,  suc- 
ceeds in  running  his  opponent 
into  the  block  and  cuts  to  the 
right  for  the  basket.  Defensive 
player  43  does  not  switch  and 
post-pivot  player  41  passes  to 
teammate  40  for  an  easy  score. 


1  BE' 


s 


Turnaround  Play 
(With  Switch) 


Offensive  player  40  throws 
a  high  overhead  pass  to  team- 
mate 41  (post-pivot  player). 
The  big  man  pivots  into  outer 
half  of  the  free-throw  circle 
and  holds  the  ball  high  above 
his  head.  Teammate  40  ma- 
neuvers his  opponent  into  the 
block  and  cuts  to  the  right 
around  the  block.  This  time, 
defensive  player  43  switches  to 
cover  the  cutter,  offensive 
player  40.  The  big  man  41  has 
a  clear  shot  for  the  basket  and 
is  attempting  a  one-hand  set 
shot. 


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v, 


Turnaround   Play 
(With  Switch) 


Offensive  player  40  again 
passes  to  the  big  man  41.  The 
post-pivot  player  pivots  in  the 
outer  half  of  the  free-throw 
circle  and  again  player  40  ma- 
neuvers his  opponent  into  the 
block.  Defensive  player  43 
again  switches  and  this  time 
the  big  man,  pivot  player  41, 
dribbles  in  for  a  shot  at  the 
basket. 


m~t~~ 


186  BUILDING    A    STYLE    OF    PLAY 


THE  TWO-MAN  PLAYS 

Examples  of  the  two-man  plays  are  shown  here  on  the  black- 
board. Two-man  plays  are  unquestionably  the  backbone  of  all 
team  offenses.  They  may  be  executed  in  the  backcourt  between  the 
two  "quarterbacks";  diagonally  between  a  backcourt  player  and  a 
post-pivot  player;  from  the  side  of  the  court  between  a  backcourt 
player  and  a  post-pivot  player;  or  from  the  corner  between  a  corner 
man  and  the  post-pivot  player.  The  plays  here  are  being  executed 
in  the  backcourt,  but  they  may  be  started  from  any  position.  Here 
player  1  starts  the  plays,  but  they  can  as  easily  be  initiated  by 
player  2. 

Two-man  plays  incorporate  a  number  of  "give-and-go"  plays, 
usually  in  the  backcourt.  When  these  are  used,  the  post-pivot  player 
usually  blends  into  the  weave  or  roll  or  keeps  his  opponent  busy 
from  a  corner  or  baseline  position. 


f 


Sit 


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the  triangle  give-and-go  play 


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¥>  : 


This  was  the  first  play  in 
basketball  and  is  still  effective. 
From  this  basic  play  a  number 
of  screening  plays  incorporat- 
ing the  give-and-go  principle 
are  used  in  every  game  and  by 
every  team. 

In  the  photographs  repro- 
duced here  player  40  initiates 
the  play  by  dribbling  toward 
teammate  32.  Note  that  he  is 
concentrating  on  a  drive  for- 
ward to  force  his  opponent  1 1 
to  concentrate  on  shifting 
quickly  to  the  left.  With  a  push 
of  the  ball,  player  40  now 
changes  direction  and  drives 
from  his  right  foot  toward  his 
left  catching  his  opponent  11 
off  balance.  The  maneuver 
gains  a  half-step  advantage  for 
player  40  and  he  cuts  for  the 
basket,  raising  his  left  hand  as 
a  target  so  that  teammate  32 
can  give  him  a  return  pass  and 
complete  the  triangle.  (The 
first  side  of  the  triangle  was 
the  push  bounce  pass  from 
player  40  to  teammate  32;  the 
second  side  was  the  cut  exe- 
cuted by  player  40  in  driving 
toward  the  basket;  and  the 
third  side  is  the  return  pass 
from  player  32  to  the  cutter, 
player  40.) 


J 


Corner-Pivot  Plays 


Several  variations  of  corner-pivot  plays  are  shown  on  the  black- 
board here.  The  play  of  the  big  man,  player  2,  differs  here  from 
that  shown  in  the  charted  plays.  On  the  blackboard  he  is  shown 
pivoting  away  from  his  teammate  in  the  under-basket  situation;  in 
the  charted  plays  he  is  shown  rolling  or  pivoting  with  his  teammate. 
The  post-pivot  player  must  be  so  skilled  in  lane  pivot-play  that  he 
will  automatically  use  the  pivot  or  roll  to  get  free  for  a  return  pass. 


192 


BUILDING    A    STYLE    OF    PLAY 


Chart  45 


A  simple  set-up  for  a  shot  by  player  2.  Note  his  (2)  set  right 
and  long  step  back. 


Chart  46 


A  simple  set-up  for  a  shot  by  player  1 . 


BUILDING    A    STYLE    OF    PLAY 


193 


Chart  47 


A  dribble-screen  by  player  1  to  free  teammate  2  on  a  cut  for  the 
basket.  Note  raised  right  hand  and  continuity  cut  for  left  corner. 


Chart  48 


A  dribble-trailer  play.  Player  1  dribbles  between  teammate  2  and 
his  guard  (B).  Player  2  cuts  behind  the  dribbler. 


194 


BUILDING    A    STYLE    OF    PLAY 


Chart  49 


Player  1  passes  to  teammate  2  and  sets  up  a  block  behind  guard 
B.  Player  2  dribbles  for  the  basket. 


Chart  50 


Player  1  passes  to  teammate  2  and  starts  a  back  screen.  Player 
2  fakes  a  dribble  to  his  left  and  teammate  1  reverses  and  cuts  for 
the  basket.  Player  2  gives  him  the  ball  and  player  1  dribbles  hard 
for  a  score. 


BUILDING    A    STYLE    OF    PLAY 


195 


Chart  51 


Diagonal  two-man  play.  Player  1  passes  to  teammate  2  and 
cuts  as  shown.  Teammate  2  may  return  the  pass  or  dribble  around 
the  possible  block  which  opponent  A  may  set  against  opponent  B. 


Chart  52 


In  this  diagonal  play,  player  1  is  attempting  to  trap  his  guard 
(A)  between  teammate  2,  his  opponent  (B)  and  the  side  line. 
Again,  player  2  may  pass  or  dribble. 

Corner  to  Post-Pivot  play.  There  are  a  number  of  variations  to 
the  corner-pivot  play  shown  above.  The  dribble  may  be  incor- 
porated in  these  two-man  plays.  Above,  player  1  has  passed  to 
teammate  2  and  cuts  as  shown.  Should  his  opponent  (A)  be 
blocked,  he  will  receive  a  handoff  from  teammate  2. 


196 


BUILDING    A    STYLE    OF    PLAY 


Chart  53 


Corner  to  Post-Pivot  play.  Player  1  passes  to  teammate  2  and 
drives  for  the  basket.  If  player  1  succeeds  in  trapping  his  guard 
(A),  teammate  2  will  return  the  pass. 

THE  THREE-MAN  PLAYS 


In  the  Two-Three  offense,  three-man  plays  usually  center  around 
the  big  man  (post-pivot  player).  Three-man  plays  range  from  the 
post-pivot  block  to  some  form  of  "splitting  the  post."  We  have  found 
that  the  use  of  more  than  three  players  to  develop  a  scoring  play 
results  in  a  mechanical,  lackluster  movement  of  ball  and  players. 

When  plays  and  play  opportunities  lack  freedom  and  dash  and 
spontaneous  action  they  cease  to  be  effective.  The  following  three- 
man  plays  blend  easily  into  the  give-and-go  weave  circulation. 
Please  note  at  this  time  that  a  change-up,  turn,  or  pivot  away  from 
the  usual  backcourt  give-and-go  principle  of  the  weave  reverses  the 
circulation  path.  In  other  words,  in  the  give-and-go  weave,  a  player 
in  the  backcourt  or  coming  up  along  the  sideline  is  expected  to  move 
toward  the  center  of  the  backcourt,  then  dash  for  the  basket,  and 
fade  out  toward  the  opposite  corner.  When  a  player  on  one  side  of 
the  court  turns  back  toward  the  side  or  corner  from  which  he  has 


BUILDING    A    STYLE    OF    PLAY 


197 


just  come,  it  means  that  he  will  reverse  his  circulation  cut  and  come 
back  up  the  same  side  he  is  now  facing.  This  innovation  will  be  ex- 
plained in  the  chart  descriptions. 

All  players  not  concerned  in  the  actual  screening,  blocking,  drib- 
bling, or  passing  in  a  two-  or  three-man  play  are  expected  to  keep 
their  opponents  busy  by  trading  positions  on  the  side  of  the  court 
away  from  the  play.  In  Charts  54-67,  three-man  plays  have  been 
illustrated  on  one  side  of  the  court.  Transferring  the  play  to  the 
other  side  of  the  court  merely  means  a  reversal  in  the  direction  of 
the  play  and  a  change  in  the  duties  of  the  players. 


Chart  54 


Chart  54  shows  a  three-man  play  incorporating  the  "split-the- 
post"  principle.  Player  1  fakes  a  pass  to  teammate  2  and  then  turns 
back  to  feed  the  big  man,  post-pivot  player  3.  This  move  on  the  part 
of  player  1  immediately  changes  the  circulation  path;  he  will  re- 
verse his  usual  cut  (normally  he  would  replace  player  5  in  the  right 
corner)  and,  after  setting  a  screen  for  teammate  4,  will  continue  to 
the  left  corner  to  occupy  teammate  4's  corner  position. 


198 


BUILDING    A    STYLE    OF    PLAY 


Player  2  recognizes  the  circulation  change  and,  instead  of  cut- 
ting toward  the  basket  and  fading  off  to  the  left  corner,  reverses 
and  cuts  toward  the  right  corner  to  replace  teammate  5.  Players  2 
and  5  must  keep  their  opponents  busy. 


Chart  55 


Chart  55  shows  a  three-man  corner  clearout  play  in  which 
player  1  reverses  the  circulation  path  by  turning  away  from  team- 
mate 2  and  dribbling  toward  the  left  side  of  the  court.  Post-pivot 
player  3  may  be  stationed  on  either  side  of  the  court.  Here,  he  fakes 
right  and  cuts  to  a  pivot  position  beside  the  lane. 

Player  1  now  passes  the  ball  to  the  corner  player  4  and  executes 
an  outside  screen,  circling  behind  him.  Player  4  passes  the  ball  to 
teammate  1  and  cuts  for  the  basket.  Player  1  now  has  room  and 
time  for  an  attempt  at  a  score,  or  he  may  pass  to  post-pivot  player  3. 
Players  2  and  5,  away  from  the  play,  must  keep  their  opponents 
busy  to  avoid  floating  and  sagging. 


BUILDING    A    STYLE    OF    PLAY 

Chart  56 


199 


The  three-man  play  in  Chart  56  is  designed  chiefly  to  accentuate 
the  circulation  paths  of  players  1  and  2.  Player  2  has  the  ball  and 
passes  to  player  1,  who  meets  the  pass.  Player  2  then  uses  the  give- 
and-go  weave  path  from  that  side  of  the  court.  Player  1  dribbles 
and  then  uses  his  circulation  path  from  his  side  of  the  court. 

Chart  57 


200 


BUILDING    A    STYLE    OF    PLAY 


Another  example  of  the  give-and-go  weave  circulation  path  ap- 
pears in  Chart  57.  Player  1  passes  to  player  2  and  cuts  for  the 
basket  hoping  for  a  return  pass.  When  the  ball  is  not  received,  he 
cuts  for  the  right  corner.  Player  2  dribbles  and  then  passes  off  to 
corner  player  4.  Player  2  then  continues  his  circulation  path  to  the 
left  corner  and  up  the  side. 

Chart  58 


Note  the  circulation  path  in  the  three-man  play  in  Chart  58. 
Player  1  passes  the  ball  to  teammate  4,  who  has  faked  a  baseline 
cut  to  the  basket.  Player  4  waits  for  player  l's  screen  and  then 
passes  to  post-pivot  player  3  and  cuts  for  the  return  pass. 

In  Chart  59  player  1  again  passes  to  teammate  4.  This  time 
player  1  uses  a  slow  screen  behind  teammate  4's  opponent  and  then 
continues  his  reverse  circulation  path.  Player  4  cuts  around  the 
screen  after  passing  to  teammate  3.  This  time  he  cuts  to  the  outside 
of  the  post  block  for  the  return  pass.  Note  that  player  3  is  rolling 
with  the  pass. 


BUILDING    A    STYLE    OF    PLAY 


201 


Chart  59 


Chart  60 


202 


BUILDING    A    STYLE    OF    PLAY 


In  Chart  60  player  1  passes  to  comer  player  4  and  cuts  behind 
4's  opponent.  There  he  sets  up  a  three-foot  block.  After  teammate  4 
cuts  around  the  block,  player  1  follows  the  reverse  circulation  path. 
Player  4  passes  the  ball  to  post-pivot  player  3  and  cuts  around  the 
double-block  set  up  by  teammates  1  and  3.  Player  4  may  hand-off 
to  corner  player  4  or  fake  a  pass  and  drive  in.  In  the  chart,  he  is 
pivoting  away  from  the  pass. 


Chart  61 


In  Chart  61  player  2  throws  a  high,  short  pass  to  post-pivot 
player  3,  which  indicates  a  turnaround  play.  Player  3  breaks  for 
the  ball  and  pivots  so  that  he  is  facing  the  basket.  Player  2  cuts  as 
shown  and,  if  no  play  develops,  cuts  on  the  reverse  circulation  path 
shown.  As  player  2  reaches  the  corner,  he  sets  a  block  against  team- 
mate 5's  opponent.  Corner  player  5  fakes  right  and  cuts  as  shown 
around  teammate  2's  block.  After  the  play  has  cleared  2  comes  up 
the  sideline. 


BUILDING    A    STYLE    OF    PLAY 


203 


Chart  62 


Chart  62  shows  a  block  play  set  up  by  post-pivot  player  3. 
Player  5  with  the  ball  fakes  a  pass  to  teammate  3.  Teammate  3  cuts 
to  the  other  side  of  the  lane  and  pivots  so  that  he  is  facing  player  5. 
Corner  player  4  drives  around  the  block  set  up  by  teammate  3  for 
the  pass  from  teammate  5.  If  no  play  is  possible  for  player  4,  the 
post-pivot  player  3  cuts  to  the  line  for  a  pass. 


Chart  63 


204 


BUILDING    A    STYLE    OF    PLAY 


The  play  shown  in  Chart  63  occurs  in  every  game.  Player  5 
drives  along  the  baseline  and  succeeds  in  dribbling  away  from  his 
opponent.  The  big  man  guarding  teammate  3  may  switch,  and  the 
opponent  guarding  corner  man  4  may  float  toward  the  basket  to 
help  out.  Player  4  waits  until  his  guard  floats  away  and  then  cuts 
out  for  a  bounce  pass  from  teammate  5. 


Chart  64 


In  Chart  64  player  1  passes  to  teammate  2  and  cuts  toward  the 
basket  with  his  left  hand  extended  above  his  head  as  a  target  for  a 
return  pass.  Player  2  fakes  a  return  pass  to  player  1  and  dribbles 
toward  the  center  of  the  court.  He  then  passes  to  teammate  3  and 
cuts  toward  the  basket.  Player  3  returns  the  ball  to  teammate  2  and 
fills  the  center  spot  in  the  center  of  the  backcourt.  Players  4  and  5 
have  started  up  the  sidelines.  Should  player  2  attempt  a  shot,  they 
will  follow  in,  while  teammates  1  and  3  cover  the  backcourt  and  set 
up  the  defensive  balance. 


BUILDING    A    STYLE    OF    PLAY 


205 


Chart  65 


Chart  66 


206 


BUILDING    A    STYLE    OF    PLAY 


Player  1  in  Chart  65  passes  to  teammate  2  and  cuts  for  the 
basket.  Player  2  dribbles  to  the  left  and  sets  an  outside  screen  be- 
hind teammate  3's  opponent.  Player  3  fakes  left,  cuts  past  team- 
mate 2,  gets  the  ball,  and  dribbles  in  for  a  shot.  Note  that  players  4 
and  5  have  come  partway  up  the  sidelines  and  are  prepared  to 
follow  in  should  player  3  attempt  the  shot.  Players  1  and  2  are  re- 
sponsible for  defensive  balance  in  the  backcourt. 

Player  1  in  Chart  66  dribbles  behind  teammate  2's  opponent  and 
sets  up  a  dribble-block.  Player  2  cuts  around  the  block  as  shown, 
drives  for  the  basket,  and  should  receive  a  bounce  pass  from 
player  1.  Player  3  uses  a  fake  and  a  change-of-pace  to  cut  around 
the  block  on  the  other  side  (splitting  the  post).  Teammates  4  and  5 
start  part  way  up  the  sidelines  and  are  prepared  to  follow  in  should 
a  shot  be  attempted.  Players  1  and  2  are  responsible  for  defensive 
balance  should  a  shot  be  attempted. 

Chart  67 


Player  1  in  Chart  67  passes  the  ball  to  teammate  2  and  uses  an 
inside  screen  to  cut  behind  2.  Player  2  passes  to  teammate  4  and 


BUILDING    A    STYLE    OF    PLAY  207 

cuts  for  the  basket.  He  may  continue  on  if  free,  but  here  he  stops 
in  the  outer  half  of  the  free-throw  circle  and  sets  a  block  for  team- 
mate 3.  Player  3  cuts  for  the  basket  as  shown.  This  is  a  slicing  play. 
Note  that  player  2  reverses  to  cut  toward  the  ball  and  to  set  up  a 
reverse  path  because  of  the  reverse  continuity  established  by  player 
2's  pass  to  player  4. 

GAME  SIGNALS 

The  use  of  signals  is  not  restricted  to  indicating  the  direction  of 
the  tap  and  the  receiver  in  jump-ball  situations.  Certain  signals  or 
signs  may  be  used  in  calling  a  time-out,  determining  a  change  of 
offense  or  defense,  exchanging  opponents  in  the  man-to-man  de- 
fense, and  transferring  follow-in  assignments. 

Many  coaches  are  satisfied  with  securing  possession  of  the  ball 
in  held-ball  situations;  others  design  certain  plays  from  the  center 
jump  and  the  held-ball  situations.  Time-outs  are  precious  in  deter- 
mining strategic  moves  in  the  closing  minutes  of  a  game,  and  some 
sort  of  an  arrangement  should  be  agreed  upon  so  that  the  coach 
can  control  the  calls.  Although  the  rules  permit  any  player  to  call 
for  a  time-out,  it  should  not  be  called  without  the  approval  of  the 
coach  unless  a  player  is  injured. 

Today,  game  strategy  calls  for  team  cohesion  in  changing  from 
one  offense  to  another.  Some  sort  of  a  signal  or  sign  should  be  de- 
vised for  use  between  the  coach  and  the  captain  and  between  the 
captain  and  teammates  in  deciding  when  one  offense  may  be  substi- 
tuted for  another;  when  a  man-to-man  defense  may  be  changed  to  a 
zone;  when  a  full-  or  half -court  press  may  be  applied;  when  players' 
defensive  assignments  are  to  be  switched  from  one  opponent  to  an- 
other because  of  advantages  or  disadvantages  in  size,  speed,  drive, 
or  other  superiority;  and  in  transferring  offensive  follow-in  assign- 
ments when  it  is  obvious  that  a  certain  opponent  is  poorly  trained 
in  blocking  out. 

Signals  may  range  from  the  old,  familiar  cloth-and-skin  type  to 
use  of  the  eyes,  called-out  numbers,  body  facing,  positions  of  the 


208  BUILDING    A    STYLE    OF    PLAY 

feet  or  the  hands.  These  signals  may  be  further  complicated  by  be- 
ing used  while  standing  or  moving,  talking  or  silent,  and  by  the  re- 
sponsibility of  giving  the  signals  changing  from  one  player  to  an- 
other during  the  game. 

The  cloth-and-skin  signals  are  indicated  by  the  hands,  touching 
the  face,  arms,  legs,  shirt,  or  trunks.  For  example,  in  the  center 
jump  or  in  a  held-ball  situation,  the  player  giving  the  signals  may 
touch  his  right  temple  to  designate  a  tap  to  the  left  forward  posi- 
tion. The  left  hand  can  be  used  similarly  to  designate  the  right  for- 
ward position.  Touching  the  chin  with  either  hand  may  designate 
the  respective  guard  positions,  and  touching  the  legs — right  or  left 
and  with  right  or  left  hand — may  serve  to  designate  taps  directly 
to  the  side,  to  the  front  (long  or  short),  and  directly  back  (long  or 
short). 

The  use  of  called  numbers  may  serve  to  set  up  a  certain  offense 
or  a  play.  One  of  the  outstanding  professional  teams  in  the  country 
signifies  certain  offensive  plays  through  called  numbers.  Another 
gives  signals  by  the  player's  raising  a  hand  in  the  air,  determining 
the  play  or  formation  by  the  number  of  fingers. 

A  change  of  defense  or  the  application  of  some  phase  of  the 
press  may  be  signalled  by  the  captain.  Some  teams  give  the  signals 
after  the  scoring  of  a  free  throw  or  a  goal  from  the  field.  And  some 
coaches  make  the  changes  during  a  time-out.  However,  the  change 
should  be  made  if  possible  during  play  on  the  court  to  incorporate 
the  element  of  surprise. 

THE  BASIC  OFFENSE 

attacking  the  man-to-man  defense 

In  building  an  offense  the  team  must  master  the  various  distinct 
fundamentals,  and  the  coach  and  the  players  must  be  in  agreement 
concerning  their  usage  in  game  situations.  The  fundamental  drills 
should  continue  day  after  day  from  the  first  day  of  practice  until 
the  last  practice  before  the  final  game. 


BUILDING    A    STYLE    OF    PLAY  209 

No  coach  will  succeed  with  an  offensive  pattern  or  style  unless 
his  players  have  both  a  complete  knowledge  of  the  fundamentals 
and  the  ability  to  put  them  into  practice  under  game  conditions. 
It  follows,  then,  that  players  will  not  be  able  to  successfully  employ 
a  style  of  play  unless  they  have  been  exposed  to  fundamental  drills 
time  after  time  until  the  use  of  the  correct  fundamentals  in  the 
various  situations  has  become  a  habit. 

At  the  end  of  this  book  the  various  fundamental  drills  used  in 
developing  individual  offensive  skills  are  outlined.  Team  offensive 
drills  as  well  as  warm-up  and  special  tactical  drills  are  included. 
The  coach  should  give  them  proper  emphasis  in  the  over-all  allot- 
ment of  time. 

The  five-man  give-and-go  weave  and  the  four-man  weave  and 
roll  with  the  use  of  a  post-pivot  player  have  been  discussed  and 
diagrammed.  These  offensive  setups  will  be  diagrammed  again  to 
illustrate  their  use  as  team  offenses  against  the  man-to-man  defense. 
A  five-man  roll  and  certain  applications  of  the  Three-Two  offense 
will  be  diagrammed  to  show  their  use  against  man-to-man  defenses. 
Attacks  against  the  man-to-man  variations  will  be  found  under 
"attack  situations"  in  Chapter  4. 

The  basic  One-Three-One  attack  and  an  alternate  for  use  against 
the  zone  defenses  will  be  diagrammed  and  explained.  Naturally,  all 
coaches  have  their  own  theories  and  adaptations  for  use  against  a 
particular  type  of  zone  and  its  variations. 

It  is  important  to  reiterate  that  the  use  of  a  pattern,  weave,  or 
roll  is  vital  in  any  basic  offense  in  order  to  insure  offensive  and  de- 
fensive balance.  Otherwise,  the  development  of  game  plays  has 
little  value  except  to  teach  situation  reactions. 

The  use  of  inside  and  outside  screens  (designated  by  a  short  line 
beside  the  circulation  path >-  ) ,  back  screens,  drib- 
ble and  turnaround  blocks,  two-man  plays,  and  the  three-man  plays 
will  be  diagrammed  in  the  five-man  give-and-go  weave,  the  basic 
Two-Three,  the  five-man  roll,  the  four-man  roll  with  a  post-pivot, 
and  the  Three-Two  offenses. 

The  charts  do  not  show  scoring  attempts  by  the  players  since  all 


210  BUILDING    A    STYLE    OF    PLAY 

offensive  players  are  operating  with  complete  option  freedom  in  all 
plays.  The  players  are,  however,  expected  to  follow  the  regular  or 
reverse  circulation  paths.  Frequently  a  player  will  cut  in  an  entirely 
different  direction  from  the  required  circulation  and  then  change  his 
path  to  end  up  correctly  in  the  proper  continuity. 

The  post-pivot  player  is  used  as  a  scoring  threat  in  all  formations, 
although  none  of  the  diagrams  show  him  attempting  a  shot.  In  his 
capacity  as  a  blocker  or  post  or  pivot  player  he  has  many  oppor- 
tunities to  handle  the  ball  and  may  elect  to  fake  a  hand-off  and 
attempt  a  shot  whenever  he  feels  it  is  the  correct  option. 


the  five-man  give-and-go  weave 

The  five-man  weave  keeps  the  under-basket  area  open  and  pro- 
vides the  basic  circulation  for  all  offenses  used  at  North  Carolina 
University.  As  a  straight  game  offense  it  permits  excellent  use  of 
change-of -direction  tactics;  inside,  outside,  and  back  screens;  drib- 
ble blocks;  and  slicing  plays. 

By  the  use  of  the  dribble  the  weave  can  be  slowed  down  to  permit 
time  for  all  kinds  of  screens  and  blocks.  Since  all  offensive  players 
are  constantly  on  the  move,  man-to-man  opponents  do  not  dare  to 
sag  or  float.  Further,  the  weave  provides  offensive  and  defensive 
court  balance  because  of  the  ease  with  which  the  weave  "spots" 
(three  in  the  backcourt  and  one  in  each  corner)  are  filled. 

The  charts  here  are  diagrammed  to  the  right  only;  naturally,  all 
circulations  and  all  plays  may  be  used  to  the  left.  The  diagrams  are 
designed  chiefly  to  illustrate  the  circulation  and  a  few  natural  plays. 
The  players  themselves  will  develop  many  extemporaneous  plays 
once  they  become  aware  of  the  possibilities. 


In  Chart  68  player  1  passes  the  ball  to  teammate  2  and  uses  a 
back  screen  to  receive  a  return  pass.  Player  1  may  now  pass  the  ball 


BUILDING    A    STYLE    OF    PLAY 


211 


Chart  68 


to  2  (cutting  with  right  hand  raised  as  a  target),  or  pass  to  3  (left 
hand  raised)  who  has  used  a  slicing  cut  closely  behind  the  block 
(three  feet)  set  by  left  comer  player  5.  The  backcourt  defensive 
balance  is  set  up  by  players  4  and  5. 


Chart  69 


212 


BUILDING    A    STYLE    OF    PLAY 


In  Chart  69  player  1  passes  the  ball  to  teammate  2  and  sets  up  a 
block  (three  feet)  behind  2's  opponent.  Player  2  passes  the  ball  to 
the  corner  player  4.  This  establishes  reverse  circulation,  since  the 
regular  circulation  calls  for  a  path  toward  the  left  and  a  pass  to 
teammate  3.  After  passing  to  player  4,  player  2  sets  a  slow-moving 
screen  for  teammate  3.  Player  3  fakes  left  and  cuts  down  the  lane. 
Note  again  that  the  reverse  circulation  is  established  because  player 
2  changes  the  continuity  by  passing  to  4  instead  of  3.  Players  1 
and  5  are  responsible  for  the  defensive  balance. 

BASIC  TWO-THREE  OFFENSE 
Chart  70 


Chart  70  illustrates  the  usual  give-and-go  with  player  3  setting 
up  a  turnaround  play  for  player  2.  Player  1  passes  to  player  2  and 
cuts  for  the  basket.  At  the  same  time,  the  post-pivot  player  3  cuts 
out  for  the  ball.  Player  2  gives  teammate  3  a  high,  lob  pass  and  cuts 
around  the  turnaround  block.  Player  3  (facing  the  basket  with  the 
ball  held  high  over  his  head)  will  pass,  shoot,  or  dribble  in  for  the 
lay-up,  depending  upon  the  action  of  his  opponent.  Players  4  and  5 
set  up  the  defensive  balance  in  the  backcourt. 


BUILDING    A    STYLE    OF    PLAY 


213 


Chart  71 


In  Chart  71  player  1  passes  the  ball  to  teammate  2  and  uses  an 
inside  screen  to  cut  behind  2.  Player  2  returns  the  ball  to  1  and 
tries  to  maneuver  his  opponent  into  l's  guard  and  drive  for  the 
basket.  Note  that  post-pivot  player  3  is  keeping  his  opponent  busy 
by  whirling  toward  the  baseline.  The  corner  men  (4  and  5)  come  up 
the  sidelines  and  will  set  up  the  defensive  balance  in  the  backcourt. 

Chart  72 


214 


BUILDING    A    STYLE    OF    PLAY 


In  Chart  72  player  1  passes  to  teammate  2  and  uses  an  outside 
screen  to  get  behind  2.  Player  2  immediately  passes  the  ball  to  team- 
mate 5  and  cuts  for  the  basket.  Player  3  again  whirls  to  take  his 
opponent  out  of  the  play  and  to  get  into  position  for  a  pass  from  the 
cutter  should  his  opponent  switch  to  cover  player  2.  Player  5  passes 
the  ball  to  2  and  continues  up  the  sideline.  In  this  situation  player  5 
will  follow  in  should  a  shot  be  taken,  and  players  1  and  4  will  be  re- 
sponsible for  defensive  balance. 


Chart  73 


In  Chart  73  player  1  passes  to  teammate  2  and  uses  a  back  screen 
to  receive  the  return  pass.  Immediately  after  passing,  player  2  fakes 
left  and  cuts  around  the  block  set  by  post-pivot  player  3.  Player  5 
will  follow  in  if  player  1  returns  the  pass  to  the  cutter  2.  In  this 
case  players  1  and  4  will  be  responsible  for  the  defensive  balance 
in  the  backcourt. 


BUILDING    A    STYLE    OF    PLAY 


215 


Chart  74 


In  Chart  74  player  1  sets  up  a  dribble-block  behind  teammate  2's 
opponent.  (Note  that  player  1  is  facing  the  basket.)  Player  2  cuts 
around  the  block  and  will  receive  a  bounce  pass  if  he  succeeds  in 
getting  free.  If  player  l's  opponent  switches,  1  may  shoot  or  pass 
to  post-pivot  player  3.  In  this  chart  player  1  passes  to  teammate  2. 
Players  4  and  5  are  responsible  for  defensive  balance. 


Chart  75 


216 


BUILDING    A    STYLE    OF    PLAY 


In  Chart  75  player  1  passes  to  teammate  2  and  cuts  for  the 
basket.  Player  2  passes  to  post-pivot  player  3  who  dribbles  up  be- 
hind teammate  2's  opponent.  Player  2  holds  his  position  until 
player  3  has  dribbled  to  the  block  position  and  then  uses  a  change- 
of-direction  and  a  hard  cut  for  the  basket  to  get  free  for  a  return 
pass.  Players  4  and  5  set  up  the  backcourt  defensive  balance. 


Chart  76 


In  Chart  76  player  1  fakes  to  teammate  2,  then  reverses  and 
dribbles  to  his  left.  (This  sets  up  reverse  circulation.)  Player  1  then 
passes  to  teammate  4,  fakes  right  and  cuts  behind  4  for  a  return 
pass.  Post-pivot  player  3  fakes  and  then  cuts  as  shown  to  the  op- 
posite side  of  the  lane.  Player  4  gives  player  1  an  over-the-shoulder 
pass  to  set  him  up  for  a  set-shot  clearout  and  then  breaks  for  the 
basket.  Player  1  may  now  shoot  or  may  pass  either  to  the  big  man 
or  to  the  corner  man  (player  5)  who  has  cut  across  court  toward 
the  ball.  Player  2,  on  the  opposite  side  of  the  court,  uses  the  reverse 
circulation  path  and  returns  to  the  backcourt  where  he  is  joined  by 
teammate  1  for  defensive  balance. 


BUILDING    A    STYLE    OF    PLAY 


217 


Chart  77 


In  Chart  77  player  1  fakes  a  pass  to  teammate  2  and  then  feeds 
the  ball  to  the  big  man  who  has  cut  to  a  post  position  beside  the 
free-throw  line.  Player  1  then  fakes  to  the  right  and  sets  a  slow,  out- 
side screen  for  player  4.  Player  1  reverses  and  returns  to  the  back- 
court  for  defensive  balance.  The  corner  man  4  utilizes  the  screen  by 


Chart  78 


218 


BUILDING    A    STYLE    OF    PLAY 


teammate  1  and  cuts  past  teammate  3  for  a  hand-off.  Player  2  ex- 
changes positions  with  player  5  and,  if  a  play  occurs,  may  cut  back 
toward  the  basket  or  rejoin  teammates  1  and  5  in  the  backcourt. 

In  Chart  78  player  1  passes  to  teammate  2  and  cuts  for  the 
basket.  Player  2  fakes  a  return  pass  to  player  1  and  then  dribbles 
left  across  court  behind  the  moving,  outside  screen  set  by  player  1 . 
Player  3  also  sets  a  block  on  the  side  of  the  lane.  If  player  2  is  un- 
able to  continue  on  to  the  basket  for  a  score,  he  executes  a  reverse 
pivot  and  attempts  to  feed  the  ball  to  the  corner  man  4  who  cuts 
across  for  the  hand-off.  Players  1  and  2  will  return  to  the  back- 
court  for  defensive  balance. 

Chart  79 


In  Chart  79  player  1  fakes  to  teammate  2  and  then  reverses  the 
circulation  by  lobbing  a  high,  short  pass  to  post-pivot  player  3. 
Player  3  sets  up  the  turnaround  play  for  teammate  1  who  cuts 
around  for  a  possible  return  pass.  If  there  is  a  switch,  the  big  man  3 
can  shoot  or  dribble  in  for  a  lay-up.  If  he  is  checked  and  player  1  is 
covered,  he  may  pass  to  corner  man  4  who  has  cut  around  a  block 
set  by  player  1.  The  backcourt  balance  is  set  up  by  players  1  and  5. 


BUILDING    A    STYLE    OF    PLAY 


219 


Chart  80 


In  Chart  80  player  1  fakes  to  teammate  2  and  then  passes  to  the 
comer  man  4.  This  sets  up  the  reverse  circulation  path  and  1  re- 
turns to  the  backcourt.  Player  4  meets  the  pass  and  feeds  the  op- 


Chart  81 


220 


BUILDING    A    STYLE    OF    PLAY 


posite  corner  man  5  who  has  cut  around  the  block  set  by  the  post- 
pivot  player  3.  Player  4  follows  his  pass.  As  soon  as  teammate  5 
clears  his  block,  the  post-pivot  player  3  drops  back  to  the  outer 
half  of  the  free-throw  circle.  Player  5  may  attempt  a  shot  if  he  is 
loose,  return  the  ball  to  teammate  4,  or  pass  to  the  post-pivot 
player  3  on  the  free-throw  line.  (Player  3  is  usually  free  for  a  shot 
on  this  play.) 

In  Chart  81  player  1  dribbles  to  an  outside-screen  position  be- 
hind teammate  2's  opponent.  He  then  hands-off  to  player  2  and 
continues  toward  the  basket.  Veering  off  to  the  right,  he  sets  a  block 
for  corner  player  5.  Player  2  dribbles  a  short  distance  and  then 
passes  to  the  corner  man  4.  Player  2  cuts  around  teammate  4  ex- 
pecting a  return  pass.  If  it  does  not  materialize,  he  cuts  for  the  left 
corner  and  back  up  the  sideline  for  defensive  balance.  If  player  4 
cannot  return  the  ball  to  player  2,  he  feeds  teammate  3  the  ball  and 
cuts  for  the  basket.  The  opposite  corner  man  5  cuts  across  the  lane 
to  "split  the  post."  If  he  fails  to  get  a  hand-off,  he  continues  to  the 
corner  to  replace  teammate  4.  Players  1  and  2  are  responsible  for 
defensive  balance. 


Chart  82 


BUILDING    A    STYLE    OF    PLAY 


221 


In  Chart  82  player  1  passes  to  teammate  2  and  sets  a  block  be- 
hind 2's  opponent.  Player  2  fakes  right  and  dribbles  hard  behind 
the  block.  If  he  succeeds  in  maneuvering  his  opponent  into  the 
block,  he  continues  his  dribble  toward  the  basket.  If  he  cannot  get 
free,  he  passes  to  the  corner  man  4,  executes  a  hard  stop,  and  cuts 
behind  the  block  set  by  the  post-pivot  player  3.  Player  4  returns 
the  pass  and  player  2  should  be  free  for  a  scoring  attempt.  Play- 
ers 4  and  5  are  responsible  for  defensive  balance. 


Chart  83 


In  Chart  83  player  1  passes  to  teammate  2  and  cuts  for  the 
basket.  If  player  2  cannot  return  the  pass,  he  dribbles  as  shown  and 
uses  a  reverse  turn  to  set  up  a  block  for  the  corner  man  4.  The  post- 
pivot  player  3  moves  across  the  lane  to  set  up  a  double  block  with 
teammate  2.  Player  4  fakes  to  the  left,  cuts  across  in  front  of  the 
double  block,  and  receives  a  hand-off  from  player  2.  The  backcourt 
balance  is  the  responsibility  of  players  2  and  5. 


222 


BUILDING    A    STYLE    OF    PLAY 


Chart  84 


In  Chart  84  player  1  passes  to  teammate  2  and  cuts  for  the 
basket.  When  player  2  pivots  away  and  passes  to  the  corner  man  5, 
player  1  reverses  his  circulation  path  and  fills  the  left  corner  spot. 
Player  2  fakes  a  return  pass  to  cutter  1  and  passes  to  the  right 
corner  man  5.  He  then  cuts  in  front  of  the  block  set  by  the  post- 
pivot  player  3.  If  he  does  not  get  the  ball,  player  2  continues  on 
around  the  corner  and  back  up  the  sideline  to  the  backcourt. 
Player  5  dribbles  behind  teammate  2's  screen  and  in  front  of  the 
block  set  by  player  3.  Player  1  buttonhooks  around  in  case  his  op- 
ponent floats;  he  is  prepared  for  the  pass  and  a  shot  if  player  5  does 
not  have  a  play.  Players  2  and  4  are  responsible  for  defensive  bal- 
ance. 


In  Chart  85  player  1  fakes  a  pass  to  teammate  2,  dribbles  hard 
to  the  side  of  the  free-throw  line,  and  sets  up  a  pivot-block  beside 
post-pivot  player  3.  Player  2  replaces  teammate  4  and  is  prepared 
to  cut  back  to  the  basket.  The  big  man  whirls  around  teammate  1 
(reverse  offensive  play)  and  takes  the  pass  for  a  jump  shot.  Players 
4  and  5  are  responsible  for  the  backcourt  defensive  balance. 


BUILDING    A    STYLE    OF    PLAY 


223 


Chart  85 


In  Chart  86  player  1  passes  to  teammate  2  and  executes  an  in- 
side screen  as  he  rolls  toward  the  right  corner.  Player  2  dribbles 
left  a  short  distance,  passes  the  ball  to  teammate  3,  and  executes 


Chart  86 


224 


BUILDING    A    STYLE    OF    PLAY 


an  inside  screen  as  he  rolls  to  the  left  corner.  Player  4  comes  up  the 
sideline  a  short  distance  and  then  moves  toward  the  center  of  the 
court  prepared  to  receive  a  pass  from  player  3.  Player  5  also  ad- 
vances up  the  left  sideline  and  rolls  toward  the  center  of  the  court 
expecting  a  pass  from  teammate  4.  All  players  use  the  inside  screen 
in  this  roll  (cutting  between  a  teammate  and  his  opponent). 


Chart  87 


Chart  87  shows  the  use  of  outside  screens  in  the  roll.  This  is  a 
difficult  maneuver;  to  avoid  contact,  all  players  must  be  able  to  em- 
ploy a  pivot-spin.  The  pivot  spin  when  moving  to  the  right  is  exe- 
cuted by  pivoting  away  from  a  teammate's  opponent  on  the  left  foot. 
When  moving  to  the  left,  the  pivot  spin  is  made  by  pivoting  away 
from  the  approaching  opponent  on  the  right  foot. 

In  Chart  87  player  1  passes  the  ball  to  teammate  2  and  attempts 
to  execute  an  outside  screen.  Because  the  opponent  guarding  team- 
mate 2  is  approaching,  player  1  avoids  contact  by  using  a  pivot 
spin  from  his  extended  left  foot.  Player  2  dribbles  a  short  distance 
and  then  passes  to  teammate  3.  Since  the  opponent  guarding  team- 
mate 3  is  approaching,  player  2  must  also  pivot-spin  away  and 
back  on  his  right  foot  to  avoid  contact.  (The  term  contact  means  to 
charge  an  opponent  which,  naturally,  is  a  foul.) 


BUILDING    A    STYLE    OF    PLAY 


225 


Chart  88 


In  Chart  88  player  1  passes  to  teammate  2,  executes  an  inside 
screen,  and  continues  on  to  the  right  corner.  Player  2  dribbles  to 
the  left,  passes  the  ball,  and  executes  another  inside  screen.  Player  3 
dribbles  around  the  screen  toward  the  basket.  Players  4  and  5  are 
responsible  for  continuing  the  roll  to  the  center  of  the  court. 


Chart  89 


226 


BUILDING    A    STYLE    OF    PLAY 


In  Chart  89  player  1  passes  to  teammate  2,  executes  an  inside 
screen,  and  continues  to  the  right  corner  to  replace  teammate  4. 
Player  2  reverses  and,  instead  of  passing  the  ball  to  teammate  3, 
passes  to  player  4.  He  then  cuts  left  and  establishes  a  block  beside 
the  lane.  This  sets  reverse  circulation  in  motion;  player  3  immedi- 
ately reverses  his  circulation  path  and  sets  up  a  block  in  the  outer 
half  of  the  free-throw  circle.  Player  5  has  rolled  up  the  left  sideline 
and  now  drives  hard  to  the  right  of  the  two  blocks  and  down  the 
right  side  of  the  free-throw  lane.  Player  4  passes  the  ball  to  him  and 
follows  in.  Players  2  and  3  reverse  to  the  backcourt  and  are  re- 
sponsible for  defensive  balance. 


Chart  90 


In  Chart  90  player  1  passes  to  teammate  2  and  executes  an  inside 
screen  as  he  rolls  toward  the  left  corner.  Player  2  dribbles  to  the 
right,  passes  to  teammate  3,  and  employs  an  inside  screen  on  his 
way  to  the  right  corner.  Player  3  dribbles  toward  the  center  of  the 
court,  passes  to  teammate  4,  executes  an  inside  screen,  and  moves 
toward  the  left  corner.  Player  4  dribbles  to  the  right  prepared  to 
pass  the  ball  to  teammate  2,  who  is  now  rolling  out  from  the  right 
corner. 


j 


BUILDING    A    STYLE    OF    PLAY 


227 


Chart  91 


In  Chart  91  player  1  passes  to  teammate  2.  Just  before  the  pass 
is  made,  post  player  5  drives  to  a  post  position  in  the  outer  half  of 
the  free-throw  circle  to  a  spot  behind  player  1  who  held  the  ball. 
Now,  as  the  ball  is  passed  to  player  2,  post-player  5  moves  to  a 


Chart  92 


228  BUILDING    A    STYLE    OF    PLAY 

position  between  player  2  and  the  basket.  Player  2  dribbles  to  the 
left,  passes  to  teammate  3,  executes  an  inside  screen,  and  continues 
on  to  the  left  corner.  Post-player  5  moves  with  the  ball  as  shown. 
Player  3  dribbles  right  and  passes  to  teammate  4.  During  this  drib- 
bling and  passing  each  player  is  watching  .for  his  or  a  teammate's 
opponent  to  make  a  mistake  so  a  drive  for  the  basket  can  be  at- 
tempted. 

In  Chart  92  player  1  passes  to  teammate  2.  Instead  of  using  the 
regular  continuity  and  passing  to  teammate  3,  player  2  reverses 
and  feeds  the  corner  man  4.  Player  4  drove  for  the  basket,  threw 
a  hard  stop,  and  angled  out  to  get  the  pass.  Player  2  followed  his 
pass,  set  up  an  outside  screen  behind  teammate  4's  opponent,  and 
then  circled  in  back  of  player  4. 

When  player  5  saw  the  pass  to  the  opposite  corner  man  4,  he 
broke  across  the  lane  and  established  a  pivot  position.  Player  4  re- 
turned the  ball  to  player  2  for  a  clearout  maneuver  and  broke 
toward  the  basket,  cutting  around  player  5  and  moving  to  a  position 
in  the  outer  half  of  the  free-throw  circle.  Player  2  may  shoot  or 
pass.  Player  3  sets  up  the  defensive  balance  and  will  get  defensive 
help  from  teammate  1. 

In  Chart  93  player  1  passes  to  teammate  2  and  cuts  for  the 
basket.  Player  2  dribbles  in  the  regular  continuity  path  to  the  left 
and  uses  a  slow  dribble-screen  for  teammate  3.  After  screening 
teammate  3's  opponent,  player  2  dribbles  on  and  sets  up  a  pivot  on 
the  left  side  of  the  lane.  Player  5  cuts  across  for  a  possible  hand-off. 
If  no  play  results,  he  continues  to  the  right  corner  and  sets  up  a 
block  for  teammate  4.  Player  3  cuts  for  the  basket  either  behind 
the  screen  set  by  player  2  or  (see  asterisk)  in  front  of  the  pivot 
(player  2).  Player  1  is  in  charge  of  the  defensive  balance  and  should 
get  help  from  teammate  4  or  teammate  5. 

In  Chart  94  player  1  passes  to  teammate  2  and  cuts  for  the 
basket.  When  player  2  reverses  and  passes  to  the  corner  man  4, 
player  1  reverses  his  usual  circulation  path  and  drives  for  the  left 
corner.  Player  2  follows  his  pass  to  player  4  and  circles  back  for  a 


BUILDING    A    STYLE    OF    PLAY 


229 


Chart  93 


possible  clearout  play.  If  the  pass  does  not  materialize,  he  returns 
to  the  backcourt  where  player  1  joins  him  for  defensive  balance. 
Player  3  changes  direction  and  breaks  for  the  basket.  When  he  sees 
the  possibilities  of  the  pivot  play  he  drops  back  to  the  outer  half  of 
the  free-throw  circle.  Player  4  (with  the  ball)  passes  to  teammate 
5  and  breaks  for  the  basket. 


Chart  94 


230 


BUILDING    A    STYLE    OF    PLAY 


Chart  95 


In  Chart  95  player  1  passes  the  ball  to  teammate  2  and  cuts  for 
the  basket.  Player  2  reverses  the  circulation,  passes  to  the  right 
corner  man  4,  and  circles  behind  him.  When  player  4  elects  to 
dribble  across  to  the  opposite  side  of  the  free-throw  lane,  player  2 
returns  up  the  right  sideline  to  the  backcourt.  Player  1  reverses  his 
circulation  path,  cuts  to  the  left  corner,  and  starts  slowly  up  the 
left  sideline.  When  player  1  sees  teammate  5  maneuvering  his  op- 
ponent for  a  cut  around  the  pivot  established  by  player  4,  he  (1) 
uses  a  change-up  and  cuts  in  front  of  the  pivot.  Player  5  cuts  behind 
the  screen  and  toward  the  basket  and  may  get  a  hand-off  from 
player  4.  Player  3  has  kept  his  opponent  busy  by  threatening  to  cut. 
As  soon  as  player  5  drives  for  the  basket,  he  too  cuts  to  split  the 
post  with  the  chance  he  may  get  a  hand-off.  Players  1  and  2  will 
provide  backcourt  defensive  balance. 

In  Chart  96  player  1  passes  the  ball  to  teammate  2  and  cuts  for 
the  basket.  When  player  2  reverses  the  circulation  by  passing  to 
the  right  corner  man  4,  player  1  also  reverses  and  veers  to  the  left 
corner.  Player  2  follows  his  pass  and  uses  a  back  screen  to  receive 
a  return  pass  from  player  4.  The  left  corner  man  5  breaks  toward 
the  ball  and  receives  it  from  player  2.  Players  4  and  2  have  split 


BUILDING    A    STYLE    OF    PLAY 


231 


Chart  96 


the  post  as  shown.  Player  2  circles  back  to  the  comer  if  he  has  no 
play,  and  the  right  corner  man  4  drops  back  to  the  outer  half  of  the 
free-throw  circle  for  a  possible  pass.  Player  3  keeps  his  man  busy 
by  maneuvering  as  shown  and  then  drops  back  for  defensive  bal- 
ance with  teammate  1 . 


Chart  97 


232 


BUILDING    A    STYLE    OF    PLAY 


In  Chart  97  player  1  dribbles  behind  teammate  2.  Player  2  at- 
tempts to  maneuver  his  opponent  into  a  pick-off  on  player  2's 
opponent.  If  he  is  successful,  he  continues  on  to  the  basket  for  a 
possible  return  pass.  When  player  1  passes  the  ball  to  player  4, 
player  2  executes  a  shallow  cut  and  returns  to  the  backcourt  for  de- 
fensive balance.  Player  1  follows  his  pass,  provides  an  outside 
screen  for  teammate  4,  cuts  to  the  corner  and  then  back  up  the 
right  side  of  the  court  for  defensive  balance.  On  the  opposite  side 
of  the  court,  left  corner  man  5  has  cut  to  the  outer  half  of  the  free- 
throw  circle  to  set  up  a  block  for  player  3.  Player  3  times  his  move 
and  drives  for  the  basket.  Player  4  may  continue  his  dribble  for  a 
shot  or  pass  to  teammates  3  or  5.  In  the  diagram  he  passes  to  the 
cutter  3.  Player  5  reverses  and  moves  toward  the  basket  after  team- 
mate 3  has  cleared  the  post  block. 


Chart  98 


In  Chart  98  player  1  passes  to  teammate  2  and  uses  an  inside 
screen  before  cutting  behind  2.  Player  2  returns  the  pass  to  team- 
mate 1  and  cuts  for  the  basket.  Player  1  passes  the  ball  to  the  right 
corner  man  4  and  follows  the  pass.  Left  corner  man  5  uses  teammate 
2's  screen  to  break  across  to  the  right  side  of  the  lane  and  set  up  a 


BUILDING    A    STYLE    OF    PLAY 


233 


post  position.  Player  4  passes  the  ball  to  5  and  cuts  as  shown. 
Player  3  has  faked  left  to  keep  his  opponent  busy  and  gain  time.  He 
now  cuts  down  the  right  side  of  the  lane  behind  player  4's  screen, 
hoping  for  a  hand-off.  Players  1  and  2  set  up  the  defensive  balance 
in  the  backcourt. 


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Chart  99 


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Chart  100 


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234  BUILDING    A    STYLE    OF    PLAY 

In  Chart  99  player  1  is  the  key  player  and  must  keep  moving  so 
that  he  may  serve  as  a  safety  point  to  which  the  ball  may  be  re- 
turned in  an  emergency.  Player  2  is  the  expert  ball  handler.  He 
moves  constantly,  forcing  his  opponent  C  to  stay  with  him.  He 
must  not  only  be  a  good  ball  handler  but  must  have  a  good  one- 
hand  set  and  jump  shot.  The  sideline  players,  4  and  5,  are  expected 
to  exchange  positions  and  to  team  up  with  player  1  in  establishing 
defensive  balance  and  in  protecting  the  ball.  They  also  assist  team- 
mate 3  in  outnumbering  the  defensive  rebounders  D  and  E. 

The  effectiveness  of  the  attack  against  the  Two-One-Two  zone 
rests  largely  in  the  hands  of  player  2.  Rapid  movement  of  the  ball 
between  players  1,  2,  4,  and  5  puts  constant  pressure  on  defensive 
chasers  A  and  B  who  cannot  possibly  cover  the  entire  width  of  the 
court. 

The  baseline  player  3  moves  from  side  to  side,  holding  the  de- 
fensive rebounders  D  and  E  in  place.  Player  3  follows  in  all  shots, 
breaks  out  to  keep  the  ball  moving  in  the  under-basket  attack,  and 
fills  the  corners.  The  strength  of  the  Two-One-Two  zone  lies  in  the 
under-basket  defensive  triangle.  The  weakness  is  on  the  sides  and 
in  the  corners. 

In  Chart  100  the  One-Three-One  offense  is  used  against  the  Two- 
Three  zone  defense.  The  Two-Three  zone  attempts  to  protect  areas 
close  to  the  basket.  This  leaves  the  middle  open  from  sideline  to 
sideline  so  that  players  2,  4,  and  5  should  have  many  good  scoring 
opportunities. 

Players  1,  2,  4,  and  5  keep  the  ball  hopping  and  move  to  set  up 
offensive  triangles  against  all  three  players  of  the  back  line  of  the 
zone  defense.  Players  4  and  5  must  be  good  side  shots  and  careful 
passers.  They  do  most  of  the  cutting  and  share  the  ball-handling 
responsibility  with  teammate  2. 

Player  3,  on  the  baseline,  sets  up  three-on-two  situations  against 
opponents  D  and  E  by  working  to  and  around  the  corners.  He 
should  possess  a  good  corner  shot. 

In  Chart  101  the  Two-Two-One  offense  is  used  to  meet  the  One- 
Two-Two  zone  defense.  This  zone  defense  is  a  bunched  defense 


BUILDING    A    STYLE    OF    PLAY 


235 


Chart  101 


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and  is  vulnerable  to  medium-length  shots.  Since  it  closely  resembles 
a  Three-Two  defense,  it  has  the  same  fast-break  strength.  Players 
1  and  2  should  be  able  to  handle  this  situation  since  they  out- 
number defensive  opponent  A.  With  the  assistance  of  teammates 
4  and  5  they  always  have  a  four-on-three  advantage. 

The  presence  of  player  3  working  along  the  baseline  is  a  con- 


Chart  102 


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236  BUILDING    A    STYLE    OF    PLAY 

stant  threat  to  defensive  players  D  and  E  and  forces  them  to  re- 
main in  position.  This  provides  an  opportunity  for  sideline  players 
4  and  5  to  work  with  3  in  outnumbering  one  of  the  rebounders. 
When  opponents  B  and  C  drop  back  to  help  out  one  of  the  back- 
court  players,  1  or  2  can  drive  through  for  a  shot  or  to  assist  in  the 
outnumbering. 

Chart  102  shows  the  Two-Two-One  offense  used  to  attack  the 
Three-Two  zone  defense.  The  Three-Two  zone  is  vulnerable  in  the 
vicinity  of  the  basket  and  in  the  corners.  Its  strength  lies  in  the 
ability  of  defensive  rebounders  D  and  E  to  control  the  backboard 
and  in  the  fast-break  efficiency  of  the  chasers  A,  B,  and  C. 

Attacking  players  1,  2,  4,  and  5  outnumber  opponents  A,  B,  and 
C  and  should  be  able  to  move  the  ball  until  they  secure  the  opening 
they  desire. 

The  presence  of  player  3  working  along  the  baseline  holds  re- 
bounders D  and  E  more  or  less  in  position  and  leaves  plenty  of 
scoring  area  near  the  basket.  Once  the  ball  passes  the  front  de- 
fensive line  of  A,  B,  and  C,  attacking  players  4,  5,  and  3  have  a 
three-two  advantage  and  should  employ  it  to  secure  sure  shots. 

Players  4  and  5  are  expected  to  assist  teammates  1  and  2  in  set- 
ting up  defensive  balance.  Should  1  or  2  cut  through  into  the  front 
court,  player  4  or  player  5  must  drop  back  to  help  maintain  de- 
fensive balance. 

Chart  103  shows  the  One-Three-One  offense  used  to  attack  the 
One-Three-One  zone  defense.  This  defense  is  weak  in  the  corners 
and  along  the  sidelines.  Although  it  appears  to  be  wide  open  under 
the  basket,  this  is  not  necessarily  true.  The  defense  was  originated  by 
Clair  Bee  (former  coach  at  Long  Island  University)  with  the  ex- 
press purpose  of  stopping  the  big  man  and  has  been  effective  in 
doing  so.  The  alignment  of  players  lends  itself  to  excellent  use  of 
the  fast  break. 

The  One-Three-One  attacking  formation  as  shown  appears  to 
match  the  zone  players  on  a  man-to-man  basis.  However,  this  situ- 
ation changes  as  soon  as  the  ball  is  passed  and  the  defensive  players 
begin  to  use  their  moves  and  slides. 


BUILDING    A    STYLE    OF    PLAY 


237 


Chart  103 


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Player  1  is  the  quarterback  of  the  attack  and,  with  the  assistance 
of  teammates  2,  4,  and  5,  must  get  the  ball  into  the  comer  and 
under-basket  area.  Then  the  comers  are  attacked  by  players  2,  4, 
and  3  on  the  left  side  and  by  players  2,  5,  and  3  on  the  right  side. 
Players  1,  4,  and  5  are  responsible  for  the  defensive  balance. 


THE  FIVE-MAN  ROLL 

The  five-man  roll  usually  employs  the  inside  screen  in  rolling 
from  corner  to  comer.  The  players  move  from  the  center  of  the 
court  to  one  corner,  then  back  to  the  center,  and  thence  to  the 
other  comer  in  a  continuous  roll.  The  use  of  the  inside  screen  pro- 
tects the  ball;  about  all  the  passer  has  to  worry  about  is  that  he  does 
not  charge  a  teammate's  guard  when  he  executes  the  inside  screen. 

The  five-man  roll  is  used  by  many  teams  to  freeze  the  ball.  The 
continuous  roll  from  comer  to  comer  annoys  many  opposing  teams 
who  get  impatient  when  the  ball  is  held  up.  This  attack  is  designed 
to  take  immediate  advantage  of  interception  attempts.  Outside 
screens  may  be  employed,  but  there  is  considerable  risk  of  charging 
infractions.  The  use  of  the  dribble  is  important  in  slowing  down  the 
roll. 


238 


BUILDING    A    STYLE    OF    PLAY 


THE  FOUR-MAN  ROLL  WITH  A  POST-PIVOT 

This  is  a  slow,  possession  type  of  offense.  The  use  of  the  dribble 
is  imperative  since  it  is  difficult  for  the  four  players  taking  part  in 
the  roll  to  cover  the  corner-to-corner  distance.  The  post-pivot 
player  is  used  chiefly  as  a  block  around  which  one  of  the  "rollers" 
may  dribble  or  cut  for  a  pass.  When  one  of  the  players  is  hard 
pressed  and  a  teammate  is  covered,  the  post-pivot  player  is  ex- 
pected to  break  to  the  ball  for  safety.  However,  some  teams  employ 
the  post-pivot  player  as  a  scoring  medium  from  a  high  post  position 
or  on  the  side  of  the  lane.  He  usually  moves  with  the  ball,  trying 
to  keep  between  the  ball  and  the  basket. 

The  rollers  (players)  must  dribble  with  their  outside  hands, 
keeping  their  bodies  between  the  opponents  and  the  ball  (right- 
hand  dribble  when  moving  to  the  right,  left-hand  dribble  when 
moving  to  the  left) .  The  coach  should  make  sure  that  the  shoulder 
opposite  the  dribbling  hand  is  lowered  so  that  the  dribbler  may 
drive  hard  for  the  basket  at  any  time  and  yet  give  the  ball  maximum 
protection. 


ATTACKING  THE  TWO-ONE-TWO  ZONE 
Chart  104 


BUILDING    A    STYLE    OF    PLAY 


239 


In  Chart  104  player  1  passes  to  teammate  4  and  replaces  player 
5  on  the  right  sideline.  Player  3  cuts  to  the  left  corner  and  receives 
the  pass  from  player  4.  Player  4  replaces  teammate  1.  Player  2 
moves  toward  the  corner,  and  player  5  moves  at  the  same  time. 
Player  3  with  the  ball  should  be  able  to  shoot  or  to  pass  to  player  2 
or  to  player  5  who  can  advance  along  the  baseline.  If  player  3 
passes  to  teammate  2,  he  will  cut  toward  the  lane  as  shown.  This  is 
an  anticlockwise  circulation  and  is  effective  because  it  attacks  from 
behind  the  zone. 


Chart  105 


In  Chart  105  player  1  passes  to  teammate  5  and  follows  his  pass 
to  replace  player  5.  Player  5  passes  to  teammate  2  and  cuts  for  the 
right  corner.  Player  3  cuts  away  from  the  ball  to  the  other  side  of 
the  court.  Player  4  replaces  teammate  1  in  the  backcourt.  Player  2 
should  be  able  to  shoot  or  pass  to  teammate  3,  5,  or  1. 

Instead  of  the  usual  One-Three-One  offense  against  the  Two- 
One-Two  zone  defense,  in  Chart  106  the  Two-Two-One  attack  is 
used.  Player  1  passes  to  teammate  2  and  delays.  Player  2  passes  to 
teammate  5  on  the  right  and  follows  his  pass  to  replace  5.  Player  1 
cuts  directly  at  the  middle  defensive  player  and  then  swerves  to  the 
right  and  receives  the  ball  from  teammate  5.  Player  5  immediately 


240 


BUILDING    A    STYLE    OF    PLAY 


cuts  for  the  basket.  Player  3  moves  toward  the  right  corner  along 
the  baseline.  Player  4  replaces  player  1  in  the  backcourt  for  de- 
fensive balance.  Player  1  may  now  shoot  or  pass  to  teammate  3, 
5,  or  2. 

Chart  106 


Chart  107 


BUILDING    A    STYLE    OF    PLAY 


241 


The  Two-Two-One  attack  is  again  used  against  the  Two-One- 
Two  defense  in  Chart  107.  Player  1  passes  to  teammate  2  and  re- 
places 2.  Player  2  passes  to  teammate  5  on  the  right  and  follows  his 
pass  to  replace  5.  Player  5  passes  to  teammate  3  who  has  cut  to  the 
right  corner,  and  then  5  cuts  for  the  basket.  Player  4  on  the  left  de- 
lays until  the  ball  is  passed  to  teammate  3  and  then  cuts  as  shown. 
Player  3  now  may  pass  to  teammate  5,  4,  or  2,  or  he  may  shoot 
from  the  corner. 


ATTACKING  THE  TWO-THREE  ZONE 


Chart  108 


In  Chart  108  player  1  passes  to  teammate  5  and  follows  the  ball 
to  replace  5.  Player  4  replaces  1  in  the  backcourt  for  defensive  bal- 
ance. Player  2  cuts  for  the  right  corner.  Player  3  breaks  out  from 
the  baseline  to  the  ball.  Player  5  passes  the  ball  to  player  3  and 
drives  for  the  basket.  Player  3  may  shoot  or  pass  the  ball  to  team- 
mate 2,  5,  or  1. 


242 


BUILDING    A    STYLE    OF    PLAY 


Chart  109 


In  Chart  109  player  1  passes  directly  to  the  post  player  2  and 
moves  to  the  right  to  replace  player  5.  Player  2  pivots  as  soon  as  he 
gets  the  ball  and  takes  one  bounce  preparatory  to  taking  a  shot.  As 
soon  as  player  2  gets  the  ball,  teammate  5  cuts  for  the  basket  and 
the  baseline  player  moves  to  the  corner.  Player  4  replaces  teammate 
1  in  the  backcourt  for  defensive  balance.  Player  2  may  shoot  or 
pass  to  teammate  3,  5,  or  1. 

ATTACKING  THE  ONE-TWO-TWO  ZONE 

The  Two-Two-One  surrounds  the  One-Two-Two  zone  in  Chart 
110.  Player  1  passes  to  teammate  2  and  replaces  him  for  defensive 
balance.  Player  2  passes  to  teammate  5  and  follows  his  pass  to  re- 
place 5.  As  player  5  receives  the  ball,  player  3  breaks  to  a  post  posi- 
tion on  the  lane.  Player  5  passes  the  ball  to  teammate  3  and  cuts 
to  the  corner.  Player  4,  on  the  weak  side,  cuts  behind  the  zone  and 
under  the  basket.  Player  3  may  shoot  or  pass  to  teammate  4,  5,  or  2. 

In  Chart  111  player  1  passes  to  teammate  2  and  replaces  him  for 
defensive  balance.  Player  2  passes  to  teammate  5  and  follows  his 
pass  to  replace  player  5.  Player  4,  on  the  weak  side,  cuts  across  to  a 


/ 


BUILDING    A    STYLE    OF    PLAY 


243 


Chart  110 


post  position  on  the  right  side  of  the  lane.  Player  5  passes  the  ball 
to  teammate  4  and  drives  for  the  basket.  Player  3  moves  to  the 
right  corner.  Player  4  may  now  attempt  a  shot  or  pass  to  teammate 
3,  5,  or  2. 


Chart  111 


vZO 


244 


BUILDING    A    STYLE    OF    PLAY 


Chart  112 


ATTACKING  THE  THREE-TWO  ZONE 


In  Chart  112  player  1  passes  the  ball  to  teammate  2  and  follows 
the  path  shown  to  cut  to  a  post  position  on  the  right  side  of  the 
lane.  Player  2  passes  the  ball  to  teammate  5  and  follows  the  pass 
to  replace  5.  Player  5  passes  the  ball  to  teammate  1  and  cuts  for  the 
right  corner.  Player  3  moves  along  the  baseline  to  the  left  side  of 
the  basket.  Player  1  may  now  shoot  or  pass  to  teammate  5,  3,  or  2. 


In  Chart  113  player  1  passes  the  ball  to  teammate  2  and  follows 
the  pass  to  replace  2.  Player  2  passes  to  teammate  5  and  follows 
his  pass  to  replace  5.  As  soon  as  player  5  gets  the  ball,  player  3 
breaks  out  beside  the  lane  and  receives  the  pass  from  player  5. 
Player  4  breaks  from  behind  the  zone  and  along  the  baseline  and 
under  the  basket.  Player  3  may  attempt  a  shot  or  pass  to  teammate 
5,  4,  or  2. 


BUILDING    A    STYLE    OF    PLAY 


245 


Chart  113 


ATTACKING  THE  ONE-THREE-ONE  ZONE 


Chart  114 


246 


BUILDING    A    STYLE    OF    PLAY 


In  Chart  114  player  1  dribbles  to  the  right,  passes  the  ball  to 
teammate  5,  and  reverses  to  the  left  side  to  replace  teammate  4. 
Player  5  passes  the  ball  to  teammate  3  who  has  moved  to  the 
corner.  Player  5  then  replaces  player  1  for  backcourt  defensive 
balance.  Player  2  cuts  directly  down  the  lane  and  then  breaks  right 
to  receive  the  ball  from  player  3.  Player  4  cuts  from  behind  the 
zone  to  the  basket.  Player  2  may  attempt  a  shot  or  pass  the  ball  to 
teammate  3  or  4.  If  these  players  are  covered,  he  can  pass  the  ball 
to  teammate  1  who  waits  on  the  weak  side. 


Chart  115 


sn 


In  Chart  115  player  1  dribbles  to  the  right  and  passes  to  team- 
mate 2.  Player  2  fakes  a  shot  and  passes  to  player  3.  Player  3  pivots 
around  prepared  to  shoot.  Player  4  breaks  from  the  weak  side  to- 
ward the  basket  and  along  the  baseline.  Player  5  on  the  right  side 
does  likewise.  After  his  pass,  player  2  cuts  to  the  right  as  shown. 
Player  3  may  shoot  or  pass  to  teammate  5,  4,  or  2.  Player  1  remains 
in  the  backcourt  for  defensive  balance. 


BUILDING    A    STYLE    OF    PLAY  247 


THE  THREE-TWO  OFFENSE 

The  offensive  formation  for  the  Three-Two  is  similar  to  the  five- 
man  give-and-go  weave.  The  comer  players  4  and  5  may  be  used 
as  "flash"  post  or  pivot  men.  The  corner  men  generally  replace  one 
another,  moving  from  one  side  of  the  front  court  to  the  other  and, 
when  necessary,  assuming  backcourt  duties  as  well  as  sharing  in  the 
defensive-balance  responsibility. 

The  three  backcourt  players  use  give-and-go  tactics,  inside  and 
outside  screens,  dribble  blocks,  and  slicing  plays  to  free  a  team- 
mate for  a  drive  to  the  basket. 

The  best  results  are  probably  obtained  by  "ball-ahead-of-the- 
man"  tactics  instead  of  the  "man-ahead-of-the-ball"  found  in  the 
give-and-go  attack.  The  usual  give-and-go  weave  with  the  reverse 
continuity  is  used  to  maintain  court  and  defensive  balance. 

THE  BASIC  ZONE  OFFENSE 

Zone  defenses  vary  so  much  in  formation  and  usage  that  it  is  im- 
possible to  teach  a  specific  attack  to  meet  all  the  types  that  may  be 
met  in  a  particular  season.  It  is  far  better  to  teach  one  or  two  basic 
offenses  and  depend  upon  these  to  meet  the  various  zones,  chang- 
ing their  alignment  as  changes  are  found  necessary  to  meet  the 
peculiarities  of  the  various  zones  encountered. 

At  North  Carolina  University  we  use  the  One-Three-One  and  the 
Two-Two-One  formations  as  our  basic  zone  offenses.  We  have 
found  that  we  can  meet  any  type  of  zone  with  these  two  forma- 
tions. We  try  to  use  these  two  basic  zone-offense  formations  in 
such  manner  that  we  outnumber  one  defensive  part  of  the  zone. 
Then  we  center  our  attack  at  this  point. 

In  attacking  any  zone  we  try,  naturally,  to  use  the  fast  break  to 
reach  attacking  territory  before  the  opponents  can  get  their  de- 
fensive zone  set  up.  When  we  are  unable  to  develop  a  fast-break 


248  BUILDING    A    STYLE    OF    PLAY 

situation,  we  slow  down  and  adapt  one  of  our  two  basic  offenses  to 
the  type  of  zone  our  opponents  employ. 

Scouting  notes  usually  suffice  to  acquaint  us  with  the  type  of 
zone  and  any  variations  being  used.  It  is  at  this  point  that  our 
"quarterback"  becomes  important,  since  we  must  assume  that  our 
opponents  may  plan  special  defensive  measures  for  us.  He  must 
assume  the  responsibility  of  setting  up  the  One-Three-One  or  the 
Two-Two-One  attacking  formation.  However,  all  of  our  players 
have  been  familiarized  with  their  assigned  positions  and  duties  and 
advance  to  them  confidently  with  little  lost  time.  As  soon  as  the 
opponents'  type  of  zone  is  revealed,  the  players  recognize  the  plays 
necessary  and  attack  immediately. 

We  emphasize  the  short  pass;  player  movement  from  the  rear 
(behind  the  zone  opponents);  a  strong  follow-in  game;  shots  down 
the  middle  (from  the  backcourt  right  on  through  the  free-throw- 
circle  area  and  into  the  lane) ;  shots  from  the  sides  and  corners;  and 
player  replacement  (when  a  player  cuts,  he  usually  pulls  an  op- 
ponent away  from  that  particular  zone  area). 

Our  players  are  aware  that  a  zone  loses  much  of  its  strength 
when  they  can  make  it  move  and  keep  it  moving.  Further,  they 
realize  that  a  zone  that  can  be  opened  up  (spread)  leaves  open- 
ings from  which  good  shots  may  be  obtained.  Constant  movement 
with  the  use  of  short,  fast  passes  and  the  elimination  of  bad  shots 
means  success. 

Dribbling,  bouncing  the  ball,  holding  up  the  passing,  too  much 
use  of  feints  and  fakes,  cross-court  passes,  and  bunching  the  offense 
work  to  the  advantage  of  the  zone.  So  the  rule  is  to  keep  the  ball 
hopping  and  to  use  the  planned  and  practiced  moves  necessary  to 
force  openings  for  good  shots. 

There  are  a  great  number  of  zone  formations,  but  we  have  found 
that  our  competitors  show  preference  for  the  various  types  in  the 
following  order: 

1  Two-One-Two  zone 

2  Two-Three  zone 


BUILDING    A    STYLE    OF    PLAY  249 

3  One-Two-Two  zone 

4  Three-Two  zone 

5  One-Three-One  zone 

With  that  classification  as  a  starting  point,  we  utilize  our  two 
basic  zone  offenses  to  set  up  attacks  as  shown  in  Charts  99-103. 

The  zone  alignments  shown  in  Charts  104-115  are  used  only 
to  permit  the  presentation  of  the  basic  zone  defenses.  Naturally, 
the  movements  of  the  attacking  players  and  the  progress  of  the  ball 
result  in  various  zone  shifts.  If  the  basic  zone  offenses  do  not  work 
as  applied  to  the  various  zone  defenses,  one  may  be  substituted  for 
the  other.  A  few  of  the  changes  in  the  offensive  moves  and  the 
probable  zone  reactions  follow. 


4 


preparing  for  attack 
situations 


JUMP-BALL  TEAM  PLAY 

Center-tap  plays  are  not  nearly  as  important  as  in  the  days  of 
the  center  jump  following  a  score.  In  a  close  game,  however,  the 
advantage  to  be  gained  in  obtaining  possession  in  more  than  half 
of  the  15  or  20  times  a  held  ball  occurs  during  a  game  may  mean 
the  difference  between  victory  and  defeat.  To  win  close  games  a 
team  must  at  least  break  even  in  the  recovery  of  the  ball  in  these 
situations. 

The  chief  concern  in  any  jump-ball  situation  is  to  make  sure  of 
possession.  The  opening  tap  for  each  half  and  those  at  the  begin- 
ning of  the  quarters  are  important  because  they  enable  a  team  to 
take  control  of  the  game,  to  get  the  "feel"  of  the  ball.  In  the  over- 
time period  or  periods,  possession  from  the  tap  is  vitally  important 
because  of  the  limited  time  left  to  play. 

The  development  of  plays  from  the  center-tap  and  jump-ball 
situations  implies  control  of  the  tap.  However,  the  prevalence  of 
tall  players  in  basketball  today  means  that  practically  all  teams 
have  one  or  more  fine  jumpers  and  there  is  always  the  chance  of 
loss  of  the  tap.  Further,  the  setting  up  of  worth-while  plays  means 
that  defensive  balance  must  be  weakened  in  some  spot. 

At  North  Carolina  University  we  prefer  to  make  sure  of  posses- 
sion of  the  ball.  Plays  are  disregarded  until  the  ball  is  securely  in 
hand.  This  does  not  mean  that  the  center-tap  and  jump-ball  situ- 

250 


PREPARING    FOR    ATTACK    SITUATIONS 


251 


ations  are  neglected.  Far  from  it.  Considerable  time  is  devoted  to 
jump-ball  formations  and  all  players  are  given  positive  assignments. 
These  assignments  are  defined  by  the  signals  used  in  designating 
the  position  to  which  the  ball  will  be  tapped  and  the  screening  or 
blocking  necessary  by  teammates  to  free  the  receiver. 

Chart  116 


The  Deep  Back  Tap  shown  in  Chart  116  is  an  almost  sure  pos- 
session tap,  provided  that  each  player  does  his  job.  The  objective 
is  to  get  the  ball  at  all  costs.  Player  1  is  expected  to  tap  the  ball  as 
far  behind  him  as  possible  in  the  direction  of  his  opponents'  basket. 
Teammates  2  and  3  are  in  a  good  blocking  position  and  must  keep 
opponents  B  and  C  from  following  the  ball.  That  is  their  only  re- 
sponsibility. Player  4  or  player  5  or  both  are  assigned  to  go  get 
the  ball.  Good  bluffing  is  important  here  since  the  opponents  will 
make  it  tough  to  get  the  ball  if  they  are  aware  of  the  play.  Maneuver- 
ing by  players  4  and  5  as  if  they  expect  to  get  the  ball  will  help.  As 
soon  as  player  1  strikes  the  ball  backwards,  players  4  and  5  will 
dash  downcourt  for  the  ball.  This  is  a  fairly  safe  play  even  if  it  fails, 
since  all  of  the  circle  players,  1,  2,  3,  4,  and  5,  are  in  proper  de- 
fensive positions. 


PREPARING    FOR    ATTACK    SITUATIONS 


253 


The  photograph  on  page  252  illustrates  the  usual  jump-ball 
formation.  However,  the  danger  of  a  long  forward  tap  toward  the 
opposite  basket  is  apparent  here.  Should  the  jumper  in  the  dark 
suit  get  the  tap  and  succeed  in  slapping  the  ball  far  down  the  court, 
his  teammate  40  on  this  side  with  his  left  hand  raised  above  his 
head  should  be  able  to  pivot  and  beat  his  opponent  1 1  in  the  dash 
downcourt  to  the  ball  and  score  an  easy  basket.  This  is  a  simple 
but  effective  play  and  occurs  in  many  games.  Note  the  defensive 
foot  positions  of  the  guards  in  the  dark  suits. 

Chart  117 


Chart  117  shows  a  fairly  safe  front-court  jump-ball  play.  Player 
1  must  be  considered  a  better  jumper  than  his  opponent  A.  The 
ball  is  tapped  slightly  forward  to  teammate  4.  Player  3  cuts  around 
behind  teammate  2  and  will  continue  on  toward  the  basket  should 
player  4  get  the  ball.  As  soon  as  player  3  passes,  player  2  must  drop 
back  fast  for  defensive  balance.  If  the  tap  is  lost,  players  3  and  4 
dash  for  the  backcourt  to  pick  up  opponents.  If  player  4  gets  the 
ball  he  may  shoot,  pass  to  teammate  5,  teammate  1  (the  jumper), 
or  to  teammate  3  driving  for  the  basket. 


254 


PREPARING    FOR    ATTACK    SITUATIONS 


Chart  118 


Chart  118  shows  a  center-jump  formation  that  offers  good  pro- 
tection with  some  opportunity  to  secure  the  ball  when  the  jumpers 
are  about  equal  in  leaping  ability.  Naturally,  opponent  B  may  not 
maintain  the  position  shown  in  the  chart.  The  use  of  the  deep  back 
tap  is  evidenced  by  the  player  positions  shown  in  the  chart.  If  any 
other  tap  is  attempted,  it  must  be  to  player  3  and  away  from  his 
opponent.  In  the  illustration,  player  1  taps  to  his  left  and  player  3 
secures  the  ball.  Player  2  drives  away  from  his  opponent  B  and  cuts 
past  the  screen  provided  by  teammate  4  and  4's  opponent  D.  The 


PREPARING    FOR    ATTACK    SITUATIONS 


255 


center  1  breaks  in  front  of  the  post  set  by  the  tap  receiver  3  and 
drives  for  the  basket.  Player  3  may  pass  to  teammate  2  or  to  the 
center  1,  or  may  dribble  in  for  a  shot.  If  he  passes  the  ball  to  a 
teammate,  he  reverses  and  drives  for  the  basket.  Players  4  and  5 
provide  defensive  balance. 

Chart   119 


A  back  tap  by  player  1  in  the  Chart  119  setup  is  dangerous. 
Teammates  4  and  5  are  busy  defending  against  D  and  E  who  are  in 
good  shooting  positions.  The  ball  should  be  always  tapped  to  the 
sides  or  far  downcourt  when  opponents  such  as  B  and  C  are  play- 
ing tightly  up  against  teammates  2  and  3.  In  the  chart  player  1  taps 
the  ball  to  teammate  2  and  cuts  to  the  right  of  the  official.  Player  3 
cuts  diagonally  as  in  a  fast  break.  If  teammate  2  passes  the  ball  to  1 , 
he  will  dribble  down  the  center  of  the  court  while  players  2  and  3 
fill  the  outside  lanes. 


256  PREPARING    FOR    ATTACK    SITUATIONS 

Figure  120  (pages  257-9)  illustrates  player  positioning  on  out-of- 
bounds  plays.  In  the  first,  the  three-man  screen  play  is  shown  on 
the  blackboard.  The  screen  is  set  on  the  free-throw  line  and  the 
play  is  designed  to  free  player  2  standing  behind  his  three  team- 
mates in  the  outer  half  of  the  free-throw  circle.  Here,  player  2's 
opponent  B  is  waiting  in  the  free-throw  lane  and  player  2  can  back 
up,  receive  a  direct  pass,  and  have  a  free  shot  at  the  basket. 

In  the  second  photo  the  three-man  screen  play  is  shown  with  the 
opponent  of  the  player  for  whom  the  screen  is  set  (40)  playing  with 
his  back  to  the  screen.  Player  40  can  fake  right  and  cut  left  or  vice 
versa  and  should  have  little  difficulty  in  getting  free. 

In  the  third  photo  a  different  formation  is  set  up.  Player  42  has 
the  ball  out  of  bounds  and  has  lifted  it  above  his  head  as  a  signal  for 
the  play  to  start.  The  big  man  41  will  back  up  still  facing  the  ball. 
Player  35  will  hold  his  position  and  teammates  40  and  41  will 
scissor  behind  him.  Player  31  will  cut  first  and  go  to  the  left  corner. 
Player  40  will  cut  second  and  drive  to  the  right  of  the  free-throw 
lane  and  then  cut  sharply  back  (left)  and  toward  the  ball  for  the 
play.  He  is  the  number-one  receiver.  Player  41  is  the  second  re- 
ceiver. Player  31  is  the  third  and  player  35  will  be  the  fourth. 
Player  35  holds  his  position  until  teammates  31  and  40  have  cut 
past  him.  Then  he  will  fall  directly  back  and  receive  the  security 
pass  if  his  other  teammates  are  covered. 


OUT-OF-BOUNDS   PLAYS 

Out-of-bounds  plays  occur  in  about  the  same  proportion  as  held- 
ball  plays.  However,  the  scoring  possibilities  are  far  greater,  par- 
ticularly in  under-the-basket  plays.  A  quick  score  from  an  out-of- 
bounds  play  shakes  the  confidence  of  opponents  and  increases  the 
scoring  team's  morale.  Hundreds  of  clutch  games  are  won  each  year 
by  the  use  of  well-executed  out-of-bounds  plays  in  the  closing  min- 
utes or  seconds  of  a  close  game.  This  is  sufficient  reason  for  the  use 
of  considerable  practice  time  to  perfect  the  plays. 


260  PREPARING    FOR    ATTACK    SITUATIONS 

Sideline  out-of-bounds  plays  from  the  center  of  the  court  do  not 
lend  themselves  as  effectively  to  scoring  possibilities  as  do  those 
under  the  basket.  However,  they  are  more  easily  intercepted  and 
are  designed  and  practiced  because  the  threat  of  a  score  makes  the 
opponents  guard  the  under-basket  area  and  lessens  interception 
attempts. 

Out-of-bounds  plays  should  be  well  planned  and  should  be 
adapted  to  the  abilities  of  the  respective  players.  Each  player  should 
have  a  definite  assignment.  The  best  passer  should  handle  the  ball 
out  of  bounds.  He  will  usually  be  one  of  the  backcourt  quarter- 
backs, preferably  the  taller  of  the  two.  Some  teams  press  one  of  the 
front-court  players,  the  big  man  or  a  corner  man,  into  use  when  the 
ball  goes  out  of  bounds  under  the  basket.  A  backcourt  player  takes 
the  ball  out  of  bounds  in  other  situations. 

The  player  who  takes  the  ball  out  of  bounds  must  keep  the  ball 
moving,  faking  right  and  left  and  up  and  down;  he  must  avoid  tele- 
graphing his  pass.  Some  sort  of  a  signal  should  be  used  to  initiate 
the  movement  of  the  players  and  the  pass  of  the  ball  in  court. 

The  big  man  should  be  placed  near  the  basket  if  possible  and 
used  for  blocking  purposes  or  as  the  receiver  of  a  high,  safety  pass. 
Spot  shooters  should  be  placed  in  the  formation  so  that  they  can  cut 
to  the  positions  from  which  they  shoot  best. 

Each  out-of-bounds  play  should  have  several  options  and  each 
play  should  look  and  start  alike.  Charts  121-128  present  several 
types  of  sideline  and  under-basket  out-of-bounds  plays  with  vari- 
ation possibilities  that  lend  themselves  to  use  by  all  types  of  players. 

In  Chart  121  players  3  and  1  cut  as  shown  and  hold  block  posi- 
tions on  the  right  side  of  the  lane.  Player  5  holds  his  position  until 
the  cutter  2  passes.  Then  5  cuts  across  the  lane.  The  play  is  in- 
tended for  player  2.  Other  receivers  are  teammate  5  and  players 
1  and  2  who  have  cut  to  the  backcourt  to  set  up  defensive  balance. 

In  Chart  122  player  2  cuts  first  across  in  front  of  teammate  1. 
Player  3  cuts  as  before  to  a  block  position  on  the  right  side  of  the 
lane.  Player  5  holds  his  position  until  the  cutter  1  has  cleared  be- 


PREPARING    FOR    ATTACK    SITUATIONS 


261 


hind  him  and  then  cuts  to  the  backcourt  for  defensive  balance.  Player 
3  also  waits  until  the  cutter  1  clears  before  moving  to  the  backcourt. 
Player  1  fakes  right  and  cuts  behind  teammates  2,  3,  and  5  for  the 
basket. 


262 


PREPARING    FOR    ATTACK    SITUATIONS 
Chart  123 


In  Chart  123,  depending  upon  how  he  is  played  by  his  opponent, 
player  1  cuts  to  the  right  or  to  the  left.  Here  he  cuts  left  and  re- 
ceives the  ball  from  player  4.  Player  4  cuts  in  bounds.  As  soon  as 
player  1  gets  the  ball,  teammates  2,  3,  and  5  move  as  shown.  Play- 
ers 2,  3,  and  5  must  be  aware  that  the  three-second  rule  is  effective 
as  soon  as  teammate  1  receives  the  ball  and  they  must  make  sure  to 
get  out  of  the  lane.  After  passing  the  ball  to  teammate  1,  player  4 
circles  as  shown  for  the  return  pass  and  a  shot  in  front  of  the  basket. 
If  player  4  is  unable  to  pass  to  1,  he  passes  to  3  who  cuts  to  the 
right  corner. 

Chart  124  shows  four  players  now  spread  across  the  lane.  Play- 
ers 2,  3,  and  5  hold  their  positions  until  player  1  cuts  behind  them 
and  to  the  right  corner.  Then  player  2  drops  straight  back.  Player 
4  passes  the  ball  to  teammate  1  and  cuts  through  the  hole  left  by 
teammate  2.  Players  3  and  5  must  get  out  of  the  lane  as  soon  as 
teammate  1  receives  the  pass  to  avoid  the  three-second  penalty.  If 
player  1  is  not  free  for  the  pass,  player  4  will  pass  to  teammate 
2,  3,  or  5.  If  player  1  gets  the  ball,  he  will  watch  for  his  out-of- 
bounds  teammate  4  and  return  the  ball  as  shown  if  possible. 

In  Chart  125  player  1  cuts  in  front  of  teammate  2  and  back  to 
the  backcourt  for  defensive  balance.  Player  5  holds  fast  until  player 
2  cuts  behind  him.  Then  he  cuts  for  the  left  corner.  Player  3  backs 


PREPARING    FOR    ATTACK    SITUATIONS 


263 


Chart  124 


I             (       (Q 

fe 

)(D(| 

•->> 

L 

u 

a 

up  as  soon  as  the  cutting  signal  is  given  by  player  4  (with  the  ball) . 
Player  4  may  pass  to  teammate  2  as  shown  or  to  teammate  3,  5,  or 
1  in  that  order. 


Chart  125 


264 


PREPARING    FOR    ATTACK    SITUATIONS 


In  Chart  126  player  1  screens  across  in  front  of  teammate  2  and 
goes  to  the  right  corner.  Players  3  and  5  hold  fast  until  player  2  has 
cut  behind  them.  Then  they  move  as  shown.  The  play  is  really  set 
up  for  the  pivot  man  3.  If  player  4  cannot  pass  to  3,  he  should  pass 
to  players  1  or  5.  Naturally,  if  the  cutter  2  gets  free,  player  4  will 
pass  the  ball  to  him  before  considering  player  3. 

The  chief  concern  in  Chart  127  is  safe  possession  of  the  ball. 
Player  3  is  the  big  man  and  the  best  ball  handler.  He  comes  in  high 
in  the  air  after  faking  toward  the  basket.  Player  1  gives  him  a  high 
pass  and  cuts  for  the  basket  as  shown.  Player  2  moves  to  his  left 
and  sets  a  block  for  teammate  4  who  cuts  around  the  block  and 
joins  teammate  1  in  splitting  the  post  set  by  player  3.  Player  5  cuts 
hard  for  the  basket  and  then  reverses  to  the  backcourt  for  a  safety 
pass  and  defensive  balance.  Player  2  holds  his  block  until  team- 
mate 4  passes  and  then  retreats  for  defensive  balance.  If  player  1 
cannot  hit  teammate  3,  he  passes  to  player  4,  5,  or  2,  in  that  order. 

Many  plays  are  possible  from  the  formation  shown  in  Chart  128 
but  the  emphasis  here  is  placed  on  possession.  On  the  signal, 
player  3  drops  straight  back  one  long  step.  Player  2  cuts  as  shown, 
and  player  4  holds  fast.  Player  3  waits  until  teammate  5  has  passed 


PREPARING    FOR    ATTACK    SITUATIONS 

Chart  127 


265 


Chart  128 


266  PREPARING    FOR    ATTACK    SITUATIONS 

behind  him  and  then  cuts  around  teammate  4  and  toward  the 
basket.  As  soon  as  teammate  3  has  passed  him,  player  4  cuts 
diagonally  and  hooks  back.  Player  1  (out  of  bounds)  should  pass 
to  5  if  possible.  If  this  pass  is  not  possible  he  should  pass  to  player 
2,  3,  or  4,  in  that  order. 

PLAYING  THE  LANE 

The  position  of  a  defensive  player  next  to  the  basket  on  each 
side  of  the  lane  when  a  free  throw  is  being  attempted  has  lessened 
the  opportunities  for  the  offensive  team  to  secure  the  ball  following 
an  unsuccessful  free  throw.  Despite  the  handicap,  however,  many 
players  occupying  the  outside  offensive  positions  have  the  necessary 
coordination  and  timing  ability  to  get  a  good  tap-in  position.  If  a 
follow-in  tap  shot  is  impossible,  some  of  these  players  retain  pos- 
session for  their  team  by  slapping  the  ball  back  to  the  shooter  or 
to  the  defensive  teammates  in  the  backcourt. 

Frequently,  a  rebound  will  be  deep  enough  to  reach  the  shooter 
on  the  free-throw  line.  He  should  be  prepared  to  "put  the  ball  back 
up"  and  concentrate  on  making  the  second  shot.  If  he  is  too  closely 
pressed  to  get  the  shot  away,  he  can  tap  the  ball  back  to  the  team- 
mates behind  him  who  are  setting  up  the  defensive  balance. 

It  is  important  that  the  players  of  both  teams  make  sure  that  they 
do  not  make  contact  with  the  lines  or  enter  the  lane  until  the  ball 
has  touched  the  backboard  or  the  rim  of  the  basket. 


THE  CONTROL  GAME 

Control  basketball  is  as  important  as  the  popular  "run-and-fire" 
game.  And,  contrary  to  the  opinion  of  many  people,  the  control 
game  can  provide  just  as  many  tense  and  dramatic  moments  as  the 
high-geared  firehouse  brand  of  basketball.  When  teams  play  good 
defensive  basketball,  the  scoring  of  a  single  basket  may  be  as 
thrilling  as  a  half  dozen  of  the  run-and-throw  variety. 


PREPARING    FOR    ATTACK    SITUATIONS  267 

Control  basketball  implies  that  the  ball  is  carefully  protected  and 
controlled  through  good  passing  and  screening  until  an  almost  sure 
shot  is  possible.  However,  "control"  applies  to  the  mental  as  well 
as  the  physical  aspect  of  the  game.  Teamplay  is  the  essence.  Indi- 
vidual play  must  be  forgotten  in  the  interest  of  the  style  of  play; 
every  player  must  be  sold  on  the  value  of  attempting  good  shots 
and,  defensively,  on  playing  hard  and  aggressively  so  that  his  op- 
ponent will  not  have  a  good  scoring  opportunity. 

Control  basketball  is  not  limited  to  offensive  play.  Defensive 
play  is  equal  in  importance.  Emphasis  is  placed  on  making  as  few 
offensive  errors  as  possible  (bad  passes,  forced  shots,  traveling,  ex- 
cessive dribbling,  violation  of  the  three-second  rule,  failure  to  set 
up  defensive  balance)  and,  through  expert  defensive  play,  forcing 
the  opponents  into  making  costly  errors.  This  all  means  that  the 
coach  and  the  players  must  be  prepared  to  spend  as  much  time  in 
the  development  of  a  strong  defense  as  a  strong  offense. 

Most  players  regard  offensive  play  as  fun  and  defensive  play  as 
work.  With  the  proper  approach,  however,  playing  good  defense 
can  give  the  real  basketball  player  as  much  personal  satisfaction  as 
passing,  screening,  or  shooting  the  ball.  It  is  important  that  the 
coach  make  clear  to  his  squad  by  emphasis  and  the  allotment  of 
time  that  he  considers  defensive  play  equally  important  with  of- 
fensive play.  Most  of  us  coaches  are  prone  to  become  involved  in 
the  teaching  of  passing,  dribbling,  and  shooting  to  the  extent  that 
we  fail  to  spend  an  equal  amount  of  time  in  defensive  work. 

There  is  no  special  system  that  can  be  termed  control  basketball. 
It  is  not  a  matter  of  special  offensive  systems  or  defensive  styles. 
Control  basketball  will  work  as  well  with  the  five-man  give-and-go 
weave  as  with  any  other  style.  Oklahoma  A.&M.  uses  the  four-man 
roll  with  a  post-pivot.  San  Francisco  uses  a  Two-Three  formation. 
Here  at  North  Carolina  University  we  adapt  the  control  game  to  our 
regular  offensive  pattern  and  the  use  of  the  Two-Three  formation. 
To  repeat,  the  success  of  the  control  game  depends  upon  the  atti- 
tude of  the  players.  If  they  have  been  sufficiently  drilled  in  main- 
taining possession  of  the  ball  until  they  get  a  good  shot  close  to  the 


268  PREPARING    FOR    ATTACK    SITUATIONS 

basket,  and  if  they  will  play  an  aggressive  defensive  game,  the  style 
of  play  will  be  a  success. 

In  our  own  case,  we  consider  control  of  the  ball  vital  in  meeting 
teams  who  overmatch  us  in  height  or  speed;  and  we  have  used  the 
control  method  successfully  in  many  important  games. 


FREE-THROW  PLAY 

The  facing  photograph  illustrates  the  standard  offensive  and  de- 
fensive positions  in  a  free-throw  situation.  The  defensive  rebound- 
ers  (in  white)  have  the  inside  positions  under  the  basket  and  one 
defensive  teammate  is  situated  in  each  corner.  The  defensive  player 
guarding  the  shooter  is  in  a  position  on  the  left  side  of  the  lane  so 
that  he  may  step  into  the  lane  and  guard  the  shooter  41  as  soon  as 
the  ball  touches  the  backboard  or  basket. 

The  offensive  players  31  and  40  are  responsible  for  defensive 
balance  and  are  approximately  15  feet  behind  the  shooter.  They 
are  in  a  good  position  should  the  basket  either  be  made  or  be  missed 
and  recovered  by  the  opponents.  If  it  is  missed  and  the  teammates  of 
players  3 1  and  40  succeed  in  tapping  it  back,  they  will  be  in  posi- 
tion to  get  the  ball. 


FREEZING  THE  BALL 

The  blackboard  drawing  on  page  270  illustrates  the  "freeze"  as  we 
use  it  at  North  Carolina  University.  When  possible  we  entrust  the 
ball  to  our  best  dribblers  (usually  the  backcourt  players)  who  keep 
possession  as  long  as  possible  before  passing  to  a  teammate  and 
breaking  away  from  the  receiver.  In  the  drawing  player  1  dribbles 
to  the  right  and  passes  to  teammate  4.  He  then  cuts  toward  the 
other  side  of  the  court.  Player  4  will  probably  dribble  or  pass  to  the 


PREPARING    FOR    ATTACK    SITUATIONS  271 

backcourt.  If  he  dribbles  out,  teammate  2  will  break  away  from  the 
ball  leaving  the  court  open  for  player  4  and  player  3  who  may  ap- 
proach from  the  left  side.  Note  that  the  big  man  5  is  moving  back 
and  forth  under  the  basket  on  the  baseline. 

The  principle  accented  here  is  to  spread  the  defense  and  allow 
the  man  with  the  ball  plenty  of  room  in  which  to  operate.  Opponents 
are  kept  busy  so  they  will  not  have  time  to  attempt  to  double-team 
the  man  with  the  ball.  When  possible,  the  man  with  the  ball  is  given 
the  whole  side  of  the  court  to  himself  so  that  he  may  use  one-on-one 
tactics  to  keep  the  ball  or  break  free  for  a  sure  shot. 

When  we  are  putting  on  a  complete  freeze,  no  shot  will  be  taken 
or  attempted  unless  the  man  with  the  ball  is  in  position  to  make  an 
uncontested  lay-up.  The  formation  employed  sets  up  with  two  men 
out  and  two  men  in  with  the  big  man  deploying  along  the  baseline 
prepared  to  break  out  for  a  safety  pass  in  case  one  of  his  teammates 
runs  into  trouble.  The  four  men  handling  the  ball  should  be  the 
best  dribblers  and  passers  and  should  be  drilled  in  the  maneuver 
until  it  comes  natural  for  them  to  dribble,  pass,  and  go  away  from 
the  receiver. 

There  are  several  other  methods  that  can  be  employed  to  freeze 
the  ball.  All  are  good.  One  freeze  style,  for  example,  spaces  four  men 
along  the  baseline  and  permits  the  team's  expert  dribbler  to  work 
one-on-one  against  his  individual  opponent.  Another  places  the  two 
tallest  and  slowest  men  on  the  team  in  the  right  and  left  corners 
and  leaves  the  ball  in  the  hands  of  the  three  best  passers  who  pass 
and  cut  away  from  one  another  so  that  the  man  with  the  ball  is 
always  alone  on  one  side  of  the  court  while  his  two  teammates 
maneuver  and  keep  their  opponents  busy  on  the  opposite  side  of 
the  court. 


272 


PREPARING    FOR    ATTACK    SITUATIONS 


Chart  129 


The  freeze  in  Chart  129.  is  patterned  after  the  give-and-go  weave 
except  that  here  the  passer  cuts  away  from  the  receiver.  The  players 
in  the  corners  hold  their  positions  as  long  as  possible  before  ad- 
vancing up  the  sidelines.  Even  then,  they  constantly  threaten  to  cut 
for  the  basket.  Player  1  dribbles  toward  the  right  and  passes  to 
teammate  2.  Note  that  player  2  starts  a  hard  cut  for  the  basket  be- 
fore reversing.  In  this  widespread  formation  the  change-up  can 
often  be  used  to  break  free  for  an  easy  lay-up.  The  middle  of  the 
court  and  the  under-basket  area  must  be  kept  free.  Player  2  dribbles 
towards  the  left  and  passes  to  player  3.  Player  3  has  cut  down  the 
left  sideline  before  retreating  to  get  the  ball.  After  passing  to  team- 
mate 3,  player  2  cuts  for  the  right  corner  to  replace  teammate  4. 
Should  a  teammate  be  double-teamed  or  tied  up,  one  of  the  corner 
men  breaks  for  the  basket  and  up  the  middle  for  a  pass. 

The  variation  of  the  "give-and-go-away"  freeze  in  Chart  130 
looks  complicated  but  is  fairly  easy  to  master.  Player  1  gives  the 
ball  to  teammate  2  after  a  short  dribble,  then  cuts  back  to  the  left 
sideline  halfway  between  the  corner  and  the  ten-second  line.  Player 
2  (now  with  the  ball)  dribbles  to  the  left,  passes  to  teammate  3, 


PREPARING    FOR    ATTACK    SITUATIONS 


273 


Chart   130 


and  cuts  away  to  a  position  halfway  between  the  right  corner  and 
the  ten-second  line.  Player  3  dribbles  to  the  right  and  passes  the 
ball  to  teammate  4  who  has  advanced  up  the  right  sideline  and  has 
cut  behind  and  around  the  post  set  by  player  2  on  the  sideline.  At 
the  same  time,  player  1  has  cut  across  in  front  of  the  basket  and  to 
the  right  corner.  After  passing  the  ball  to  player  4,  player  3  re- 
verses away  from  the  ball  and  takes  the  position  on  the  left  sideline 
that  player  1  has  just  left.  As  soon  as  player  4  cuts  around  him, 
player  2  cuts  for  the  left  corner. 

Player  4  now  has  the  ball  and  will  pass  to  teammate  5  who  came 
up  the  left  sideline  and  replaced  player  3  in  the  backcourt.  Then 
player  4  will  reverse  and  cut  away  from  the  ball  to  the  halfway 
position  on  the  right  sideline.  Player  1  will  now  cut  around  the 
block  set  by  teammate  4  on  the  right  sideline  and  will  take  the  ball 
from  player  5  who  will  reverse  away  from  the  ball  to  the  left  side- 
line. 

This  is  an  excellent  passing  drill  and  if  used  properly  will  keep 
the  defense  busy.  Should  an  interception  be  attempted  by  the  op- 
ponent of  any  of  the  players  in  the  weave,  he  should  cut  immedi- 
ately for  the  basket. 


274  PREPARING    FOR    ATTACK    SITUATIONS 

FREEZING  TIPS 
1 

Keep  the  area  in  front  of  the  basket  open  at  all  times. 

2 
Always  cut  away  from  the  teammate  to  whom  you  pass  the  ball. 

3 

When  you  do  not  have  the  ball  and  are  advancing  up  the  side- 
lines keep  faking  a  change-up  for  the  basket. 

4 
Keep  the  ball  out  of  the  four  corners  (backcourt  and  frontcourt). 

5 
Dribble  as  little  as  possible. 

6 

No  cross-court  or  lateral  passes.  Keep  in  mind  that  this  is  the 
most  dangerous  pass  in  the  game.  An  interception  is  a  sure 
basket  for  the  opponents. 

7 

Keep  moving  but  hug  the  baseline  in  the  corner,  the  sidelines, 
and  the  ten-second  line.  (Always  cut  toward  the  basket  a  short 
distance  from  the  ten-second  line  so  that  you  will  not  receive  the 
ball  so  close  to  the  line  that  you  have  no  room  to  maneuver.) 

8 

Meet  the  ball  at  all  times.  Don't  stand  and  expect  the  ball  to  get 
to  you.  Remember  the  opponent  is  interception-minded. 

9 

No  long  passes.  They  are  just  as  dangerous  as  the  cross-court 
pass. 

10 

Keep  away  from  the  teammate  with  the  ball.  Give  him  room  ,to 


PREPARING    FOR    ATTACK    SITUATIONS  275 

maneuver  and   dribble.  Go  to   him  when   it  appears  he  needs 
your  help. 

11 

Keep  in  mind  we  are  playing  out  the  clock.  We  are  not  trying 
to  score. 

12 

No  shot  will  be  tried  unless  it  is  a  lay-up  and  almost  impossible 
to  miss  and  there  is  no  opponent  near  the  play. 


MEETING  THE  PRESS 

There  are  so  many  variations  of  the  press  that  it  is  almost  im- 
possible to  prepare  a  team  to  meet  all  types.  However,  for  the 
purposes  of  this  book  they  may  be  classified  as  the  man-to-man  and 
the  zone.  In  meeting  the  press  (zone,  man-to-man,  or  a  variation)  a 
planned  and  practiced  attack  should  be  so  thoroughly  mastered 
that  the  players  are  ready  and  able  to  put  the  proper  maneuvers 
into  immediate  use.  At  North  Carolina  University  we  feel  that  a 
good  dribbler  is  the  key  to  an  attack  against  any  form  of  the  press. 
In  order  to  give  him  room  to  operate  successfully,  the  offense  should 
be  spread.  With  plenty  of  room  to  maneuver,  the  dribbler  will  be 
able  to  use  his  one-on-one  ability  to  advance  the  ball.  If  the  back- 
court  area  is  congested,  the  dribbler  will  have  difficulty  avoiding 
possible  double-teaming  by  the  opponents. 

Besides  having  a  planned  and  practiced  attack  against  the  press 
it  is  important  that  the  players  be  mentally  prepared  so  that  they 
feel  confident  of  their  ability  to  handle  the  situation.  Assigned  posi- 
tions, duties,  practice,  and  the  players'  own  use  of  the  press  will 
strengthen  their  confidence  in  their  ability  to  handle  the  situation. 
And,  if  they  are  reminded  from  time  to  time  that  their  basic  offenses 
enable  them  to  work  through  zones  and  man-to-man  defenses  in  one 
half  of  the  court,  they  will  realize  that  advancing  the  ball  when  the 
opponents  are  attempting  to  guard  all  over  the  court  is  compara- 
tively easy. 


276 


PREPARING    FOR    ATTACK    SITUATIONS 
Chart   131 


In  Chart  131  player  1  (best  passer)  takes  the  ball  out  of  bounds. 
He  may  pass  the  ball  in  from  any  position  along  the  baseline  and 
should  not  be  afraid  to  move  to  get  it  to  teammate  2.  Teammate  2 
is  the  dribbler.  Once  he  gets  the  ball,  his  teammates  maneuver  their 
opponents  so  t&at  they  are  kept  out  of  the  center  of  the  court. 
However,  3,  4,  and  5,  are  ready  to  break  back  to  help  player  1  if 
he  is  unable  to  get  the  ball  to  the  dribbler  2,  or  to  help  player  2  if 
he  runs  into  trouble  after  receiving  the  ball.  Note  that  player  5  is 
far  downcourt  and  is  prepared  to  break  back  up  the  middle  and  in  a 
straight  line  with  the  ball  for  a  long,  high  pass  if  it  is  necessary. 
Player  1  follows  upcourt  for  defensive  balance. 


PREPARING    FOR    ATTACK    SITUATIONS 


277 


Chart   132 


In  the  attack  against  the  press  shown  by  Chart  132,  player  1 
moves  along  the  baseline  and  then  passes  to  teammate  2  who  breaks 
directly  back  to  the  ball.  Player  1  cuts  straight  upcourt  and  then 
reverses  to  receive  the  ball  from  teammate  2.  Player  2  then  cuts 
straight  upcourt  and  reverses  for  the  return  pass.  Players  3,  4,  and  5 
are  prepared  to  help  out  in  case  they  are  needed. 


278 


PREPARING    FOR    ATTACK    SITUATIONS 


Chart   133 


In  Chart  133  player  1  passes  to  teammate  3  instead  of  to  player  2 
as  formerly.  Player  1  follows  his  pass  and  then  angles  left  upcourt. 
Player  3  passes  to  teammate  2  who  has  cut  ahead  of  the  ball.  Player 
3  changes  direction  and  cuts  ahead  of  teammate  1.  Teammate  1 
passes  the  ball  ahead  to  teammate  3.  Player  3  passes  ahead  to 
teammate  2  and  the  passing  continues  until  the  press  retreats.  Play- 
ers 4  and  5  are  ready  to  break  to  the  ball  if  they  are  needed. 


PREPARING    FOR    ATTACK    SITUATIONS 


279 


Chart  134 


-=$ 


In  Chart  134  player  1  holds  the  ball  until  player  3  has  set  a 
screen  for  the  dribbler  2.  He  then  passes  the  ball  to  player  2  who 
dribbles  upcourt.  Player  1  follows  the  right  sideline  and  player  3 
breaks  up  the  center  of  the  court.  Teammates  4  and  5  are  prepared 
to  come  back  to  assist  if  needed. 


280 


PREPARING    FOR    ATTACK    SITUATIONS 


ATTACKING  THE  SAG  AND  THE  FLOAT 

The  sag  and  the  float  are  employed  today  to  such  an  extent  that 
it  can  be  safely  said  that  all  teams  use  zone  principles  in  their  man- 
to-man  defense.  Most  of  our  plays  are  basically  the  one-on-one,  the 
two-man  give-and-go,  and  the  three-man  type.  This  means  that  two 
of  our  players  are  comparatively  free. 

Since  the  one-,  two-,  or  three-man  plays  are  usually  on  one  side 
of  the  court,  the  opponents  often  attempt  to  sag  and  float  away  from 
the  free  players  or  away  from  the  weak  side  of  the  court  (opposite 
to  the  side  on  which  the  play  is  being  attempted). 

We  try  to  take  care  of  these  weak-side  "floaters"  and  front-line 
"saggers"  by  requiring  our  free  players  to  interchange  positions  and 
employ  cutting  fakes  to  keep  their  opponents  busy.  When  the  inter- 
changing does  not  work,  we  set  up  screen  and  block  plays  against 
the  opponents  who  are  sagging  or  floating. 

Chart   135 


In  Chart  135  players  1,  2,  and  3  are  working  a  play  on  the  right 
side  of  the  court.  Opponents  D  and  E  are  sagging  and  floating  away 
from  players  4  and  5. 


PREPARING    FOR    ATTACK    SITUATIONS 

Chart  136 


281 


In  Chart  136  player  1  passes  to  teammate  2  and  reverses  to  set 
an  inside  screen  between  teammate  4  and  his  opponent  D  (the 
sagger).  Player  2  passes  the  ball  to  the  big  man  3  who  dribbles 
across  the  lane  and  sets  a  block  behind  teammate  5's  opponent  (the 
floater),  defensive  player  E.  Players  4  and  5  cut  as  shown  and 
should  be  able  to  evade  their  opponents  because  of  the  screen  and 
block. 


ATTACKING  DEFENSIVE  VARIATIONS 

This  book  is  not  large  enough  to  discuss  and  diagram  all  the 
defensive  combinations  and  variations.  The  combinations  range 
from  front-line  man-to-man  with  a  back-line  zone  defense  to  four- 
man  zones  with  the  remaining  player  playing  a  specific  attacking 
opponent  on  a  man-to-man  basis. 

The  screen-switch  defense  in  which  defensive  players  change  or 
switch  opponents  every  time  the  attacking  players  cross  must  be 
included  in  these  combination  defenses,  as  must  those  defenses  in 
which  four  men  play  man-to-man  and  one  man  (usually  a  tall,  agile 
player)  plays  a  one-man  zone.  With  a  few  adjustments,  the  basic 
offenses  that  have  been  outlined  can  be  employed  against  any  of 
these  combinations  and  variations. 


282 


PREPARING    FOR    ATTACK    SITUATIONS 


When  the  front  line  of  the  defense  plays  man-to-man  and  the 
rear  line  plays  zone,  it  is  perhaps  best  to  direct  the  offense  against 
the  front-line  players,  attempting  to  outnumber  the  man-to-man 
opponents,  since  the  back-line  zone  players  will  be  anchored  be- 
cause of  their  rebound  responsibilities.  Naturally,  the  attack  should 
be  directed  against  the  back  line  should  the  front  line  be  playing 
zone  and  the  back  line  man-to-man. 

When  the  back-line  players  are  using  zone  principles,  it  is  often 
possible  to  use  them  as  blocking  posts  and  attempt  to  drive  their 
teammates  (the  players  using  man-to-man  tactics)  into  the  blocks. 
One  of  the  remaining  offensive  players  should  operate  behind  the 
back  zone  line  and  the  other  should  be  used  to  assist  in  outnumber- 
ing the  front-line  man-to-man  opponents. 

The  screen-switch  defense  is  often  used  as  a  basic  team  defense. 
However,  some  teams  restrict  the  use  of  the  switch  to  the  front-line 
defensive  players.  At  any  rate,  the  principles  used  to  attack  the 
front  line  also  apply  to  the  back  line. 

Chart  137 


In  Chart  137  offensive  player  4  is  being  guarded  on  a  man-to-man 
basis  by  defensive  player  D.  Instead  of  trying  to  score,  player  4 
works  as  a  passer  or  to  cut  behind  the  zone  while  his  teammates 
attack  the  four-man  zone  box  which  is  set  up  around  the  free-throw 


PREPARING    FOR    ATTACK    SITUATIONS 


283 


lane.  A  simple  but  excellent  play  is  shown  here.  Player  1  dribbles 
slightly  to  the  right  to  draw  opponent  B  away  from  the  big  man  3 
so  he  can  make  sure  of  the  pass.  As  soon  as  player  3  receives  the 
ball,  he  whirls  as  shown  and  dribbles  down  the  lane.  He  can  stop 
and  attempt  a  jump  shot  from  the  center  of  the  lane  or  pass  to  team- 
mate 2  and  5  who  will  cut  behind  the  player  who  attempts  to  stop 
his  shot.  Player  4  keeps  his  opponent  on  the  move  and  can  move 
behind  teammates  1,  2,  and  5  so  they  will  have  a  positive  screen 
over  which  to  attempt  a  set  shot. 


Chart  138 


Against  the  switching  defense  a  change  of  direction  is  most  effec- 
tive. It  may  be  included  in  a  roll  offense,  the  five-man  give-and-go 
weave,  or  the  Two-Three  offense.  In  Chart  138  player  1  passes  to 
teammate  2  and  starts  a  screen  between  2  and  his  opponent  B.  Just 
as  player  1  reaches  the  point  of  entry  into  the  inside  screen,  he 
changes  direction  and  cuts  down  the  middle  of  the  lane.  The  big 
man  3  rolls  away  from  the  basket  prepared  for  a  pass  should  his 
opponent  C  switch  to  pick  up  player  1 . 


284 


PREPARING    FOR    ATTACK    SITUATIONS 
Chart  139 


In  Chart  139  the  defensive  players  A  and  B  are  playing  against 
offensive  players  1  and  2  on  a  man-to-man  basis.  The  other  de- 
fensive players,  C,  D,  and  E,  are  using  zone  tactics  to  take  care  of 
the  back-line  defense.  Player  1  passes  to  teammate  4  and  cuts  to  the 
left  to  clear  his  opponent  from  the  play.  Player  4  dribbles  to  the 
right,  passes  to  teammate  2,  and  reverses.  Player  2  dribbles  sharply 
toward  the  basket.  Defensive  players  C  and  E  will  have  to  cover 
players  4,  3,  or  5.  One  of  the  three  should  be  open  for  a  pass. 


5 


game  organization, 
scouting,  strategy 


organization  for  game  day 

Coaches  who  go  into  a  game  without  a  carefully  prepared  battle 
plan  are  begging  for  trouble.  You  simply  can't  leave  everything  to 
memory  or  divine  providence.  To  assure  an  efficient  performance 
by  yourself  and  your  team,  you  must  follow  a  master  blueprint — a 
plan  that  derives  the  most  from  your  system  and  enables  you  to  ad- 
just to  any  situation  or  emergency. 

The  following  game-day  plan  (which  will  later  be  broken  down 
into  detail)  is  observed  at  the  University  of  North  Carolina: 

GAME  DAY  PLAN 

Locker  room  before  game: 
1 

Go  over  offensive  scouting  notes. 

2 
Decide  on  starting  lineup. 

3 
Decide  on  offense  to  start  in  game. 

285 


286  GAME    ORGANIZATION,    SCOUTING,    STRATEGY 

4 
Adjustments  to  be  made  according  to  offensive  situations. 

Style  of  game  to  be  played: 
1 

Normal  game. 

2 
Control  basketball. 

3 
Hold  ball  back. 

4 
Fast  break. 

5 
Semi-press. 

6 
Full-court  press. 

Pre-game  practice: 
1 

Warm-up  drills. 

2 
Set  shooting   .   .   .   jump  shooting. 

3 
Foul  shooting. 

4 
Go  to  dressing  room  for  final  instructions. 


GAME    ORGANIZATION,    SCOUTING,    STRATEGY  287 

GAME  STRATEGY 
First  time-out: 

1 

Huddle  in  time-out. 

2 

Players  do  not  talk  unless  asked  a  question,  or  if  injured  or  tired. 

3 

Discuss  possible  changes  in  offensive  strategy. 

Substitutions: 
1 

Reason  for  substitutions. 

2 

Decision  on  personal  fouls,  whether  to  take  out  player  or  to  leave 
him  in  the  game. 

3 

Decision  on  four  personal  fouls,  whether  to  take  out  player  or 
leave  him  in  game  until  he  fouls  out. 

Between  halves: 
1 

Check  score  book   .   .   .   look  over  shot  chart. 

2 

Tell  players  of  their  own  personal  fouls  and  of  the  fouls  on  the 
opponents. 

3 

Observe  leading  scorer  on  other  team. 


288  GAME    ORGANIZATION,    SCOUTING,    STRATEGY 

4 

Make  adjustments  in  offense  if  necessary. 
5 

Give  starting  lineup  for  second  half. 

Decisions: 

1 
When  to  freeze  ball  if  we  are  leading. 

2 
Plays  with  seconds  to  go. 

3 
Offensive  match-ups. 

locker-room  details 

Our  team  arrives  at  the  dressing  room  one  hour  before  the  game. 
After  the  squad  has  dressed  and  the  trainer  has  checked  each  player, 
we  have  a  meeting. 

At  this  meeting  we  go  over  the  scouting  report  for  the  last  time. 
The  names,  numbers,  heights,  and  offensive  notations  are  put  on  a 
large  blackboard  so  that  the  players  can  easily  remember  the 
significant  details. 

We  decide  on  the  starting  lineup  and  announce  it  to  the  team. 
This  lineup  will  depend  a  great  deal  on  the  lineup  of  the  opponents. 
We  usually  try  to  start  three  big  men  and  two  smaller  men  (the 
regular  backcourt  men).  We  may  alter  this  if  we  intend  playing  a 
fast-breaking  game. 

Our  initial  offense  also  depends  on  the  nature  of  our  starting 
lineup. 

pre-game  practice 

In  warming  up  before  the  game  we  use  a  three-man  passing  drill 
with  a  lay-up  for  about  five  minutes.  The  purpose  of  this  is  to  warm 


GAME    ORGANIZATION,    SCOUTING,    STRATEGY  289 

up  the  muscles  and  to  loosen  up  generally.  This  part  of  the  practice 
is  supervised  by  the  trainer,  who  is  always  present.  After  this  first 
drill,  we  take  set  and  jump  shots  with  certain  players  working  on 
their  pivot  and  hook  shots  underneath.  Finally,  the  starting  team 
and  the  first-line  substitutes  practice  their  foul  shots.  Then  the  squad 
returns  to  the  dressing  room  for  a  final  briefing. 


OFFENSIVE  GAME  STRATEGY 


style  of  game  to  be  played 


We  mix  up  the  following  offenses  in  a  general  pattern:  single 
pivot,  five-man  give-and-go  weave,  post  offense,  fast  break,  and 
full-court  press. 

We  play  our  normal  game  whenever  our  opponents  use  a  basic 
man-to-man  defense,  starting  off  with  our  regular  offense  as  given 
above. 

We'll  play  a  control  game  whenever  our  opponents  dominate  the 
backboards  and  are  giving  us  only  one  shot  at  the  basket.  When  our 
opponents  are  using  a  running  game  or  are  a  well-known  fast-break 
team,  we  try  to  slow  them  down  by  holding  on  to  the  ball  and  tak- 
ing only  good  shots.  In  other  words,  we  try  to  get  the  other  team  to 
play  our  style  of  game.  Usually  a  fast-breaking  team  isn't  familiar 
with  control  basketball,  and  this  should  work  to  our  advantage. 

We'll  hold  the  ball  against  a  team  superior  in  manpower  and 
bench  strength,  and  as  a  change  in  tactics.  This  style  of  game  is 
tremendously  disliked  by  spectators,  and  can  be  used  only  on  rare 
occasions.  You  will  find  that  the  opponents  will  usually  go  into  a 
full-court  press  to  try  to  break  it  up. 

the  first  time-out 

Once  the  game  starts,  we  let  the  team  play  as  planned  until  it 
becomes  necessary  to  change  some  of  our  plans.  This  we  do  in  the 


290  GAME    ORGANIZATION,    SCOUTING,    STRATEGY 

first  time-out.  Our  players  huddle  in  a  group  in  front  of  our  bench, 
and  are  taken  care  of  by  the  trainer.  Players  do  not  talk  in  the 
huddle  unless  asked  a  question  or  unless  one  is  injured  or  tired  and 
wants  a  rest. 

During  this  first  and  subsequent  time-outs,  we  discuss  the  strategy 
to  be  used;  or,  if  the  other  team  has  taken  the  time-out,  we  may 
leave  things  as  they  are.  Sometimes  the  work  of  the  scout  is  thrown 
out  the  window  at  the  first  time-out.  That  happens  whenever  op- 
ponents have  completely  changed  the  style  of  play  or  are  using 
players  different  from  the  ones  originally  scouted. 

We  try  to  save  our  time-outs  until  the  end  of  the  game,  when  we 
may  need  them  in  order  to  stop  the  clock  and  try  some  new  moves. 


substitutions 

The  first  substitution  is  usually  an  important  one.  With  this  move, 
you  may  change  the  style  of  game  you  have  been  playing.  For  ex- 
ample, by  substituting  a  small  man  for  a  big  man,  you  might  change 
from  a  pattern  offense  to  a  fast-break  attack.  Or,  by  inserting  an- 
other big  man  into  your  lineup,  you  might  switch  to  a  double  pivot 
under  the  boards.  Of  course,  you  do  not  necessarily  have  to  change 
your  style  of  play.  The  first  substitute  might  merely  be  a  replace- 
ment for  a  player  who  isn't  doing  too  well. 

Some  coaches  will  immediately  remove  a  player  who  picks  up 
three  personal  fouls;  others  won't  take  him  out  unless  it  is  very 
close  to  the  end  of  the  half.  Experience  has  proved  that  foul  No.  4 
quickly  follows  foul  No.  3,  and  coaches  gamble  on  this.  They  may 
open  the  second  half  with  the  player  having  three  fouls  and  go  along 
with  him  until  he  draws  his  fourth.  At  this  point,  they  will  yank  him 
out  and  wait  for  the  closing  minutes  before  putting  him  in  again. 

Other  coaches  believe  in  leaving  a  player  in  regardless  of  his 
fouls.  They  feel  that  a  boy  doesn't  play  as  well  after  a  stretch  on  the 
bench.  This  probably  will  always  remain  a  moot  question. 

It  helps  to  have  a  unit  in  reserve  that  has  been  trained  in  freezing 


GAME    ORGANIZATION,    SCOUTING,    STRATEGY  291 

the  ball  or  in  throwing  up  a  full-court  press.  A  unit  like  this  will 
come  in  handy  in  the  final  minutes  of  a  close  ball  game. 


between  halves 

During  the  first  half  we  have  one  of  our  managers  chart  the  shots 
taken  by  the  players  of  both  teams.  This  shot  chart  tells  us  at  a 
glance  where  the  opponents  are  hitting  and  enables  us  to  make  any 
needed  defensive  adjustments. 

Together  with  the  score  book,  the  chart  tells  the  story  of  the  first 
half.  From  this  evidence,  plus  the  intense  observation  by  my  as- 
sistant and  the  freshman  coaches,  who  take  notes  on  the  bench,  we 
arrive  at  decisions  for  the  second  half.  We  may  stick  with  the  same 
lineup  that  finished  the  first  half  or  we  may  make  certain  changes 
to  meet  some  new  situation  that  has  arisen. 

We  study  the  score  book  and  tell  our  players  how  many  personal 
fouls  they  have  committed  and  the  number  on  each  of  our  op- 
ponents. We  warn  them  about  the  number  of  time-outs  we  took 
during  the  first  half,  and  to  avoid  taking  an  extra  time-out  at  the 
expense  of  a  technical  foul. 

We  make  certain  observations  about  the  leading  scorer  of  the 
other  team  and  offer  suggestions  on  how  to  stop  him.  At  this  point 
we  may  also  decide  to  change  our  match-ups.  If  our  offense  is  be- 
ing stopped,  we'll  make  adjustments — changing  our  style  if  neces- 
sary. For  example,  if  the  other  team  has  a  bigger  player  than  our 
pivot  man,  we'll  stop  using  a  single-pivot  offense  and  put  our  big 
man  in  the  corner  or  at  the  side,  wherever  we  think  he'll  work  best. 
This,  we  hope,  will  take  the  opposition's  big  man  away  from  the 
defensive  boards  (if  they're  playing  man-to-man). 

decisions 

When  to  freeze  the  ball  when  ahead.  It  takes  a  lot  of  expe- 
rience to  learn  when  to  go  into  a  freeze  and  how  to  operate  it. 


292  GAME    ORGANIZATION,    SCOUTING,    STRATEGY 

We've  been  both  right  and  wrong  on  this  matter.  It  is  very  difficult 
to  set  up  any  hard  and  fast  rule.  It's  really  a  personal  matter  for 
the  individual  coach  since  he  knows  the  type  of  player  he  has  and 
the  ability  of  the  team  to  apply  a  successful  freeze. 

We  freeze  or  stall  at  the  end  of  the  game  whenever  we  think  our 
lead  is  sufficient.  We  freeze  the  ball  in  this  manner: 


FREEZING  THE  BALL 

1 

We  open  up  the  court  by  keeping  the  area  under  the  basket  open 
—that  is,  free  from  pivot  men  or  post  men.  We  send  the  big  men 
to  the  corners  or  to  the  baseline. 


We  move  the  ball  and  the  men.  We  never  hold  the  ball  too  long, 
since  a  man  who  does  so  is  an  easy  target  for  a  double-team  sit- 
uation. We  sometimes  put  in  another  smaller  man  ...  an  out- 
standing dribbler  ...  to  help  freeze  the  ball. 

3 

We  try  to  eliminate  long  and  cross-court  passes. 

4 

We  go  away  from  the  receiver  when  passing  the  ball  to  pre- 
vent double-teaming. 


We  stay  away  from  the  lane  and  the  ten-second  line  as  much  as 
possible. 


On  occasion  we  use  continuity  freeze  offense  with  the  five  men 
getting  into  the  passing,  or  a  four-man  passing  freeze  with  one 
of  the  big  men  setting  up  a   post  outside  the  free-throw  lane. 

A  common  weakness  in  freezing  lies  in  forgetting  to  score  or  not 
trying  to  get  an  easy  basket  and  increase  the  lead.  When  the  op- 


GAME    ORGANIZATION,    SCOUTING,    STRATEGY  293 

ponents  are  using  a  tight  man-to-man  defense,  plays  can  be  worked 
down  the  middle  and  on  the  sides  with  a  change-up. 

Special  plays— with  seconds  to  go.  It's  advisable  to  have 
some  plays  ready  for  situations  where  the  clock  is  running  out  and 
your  team  is  down  by  two  or  three  points.  If  you  don't  have  the 
ball,  then  everything  must  be  done  to  secure  it,  such  as  double- 
teaming,  gambling  on  interceptions,  and  possibly  fouling  the  player 
least  likely  to  convert  his  free  throws.  In  this  case  you  must  get  the 
rebound  on  the  missed  try. 

The  plays  with  seconds  to  go  should  revolve  around  double  and 
triple  screens  around  the  free-throw  line.  Nearly  every  coach  has 
these  ready  for  the  last  seconds.  They  can  be  discussed  during  the 
time-out  near  the  end  of  the  game.  Also,  an  individual  player  with 
drive  should  be  given  the  ball  for  the  three-point  play,  his  team- 
mates opening  up  the  center  of  the  court  under  the  boards  so  he 
can  have  room  to  drive. 


scouting  opponents'  offense 

Almost  all  coaches  appreciate  the  value  of  scouting  information, 
and  a  good  basketball  scout  is  worth  his  weight  in  gold.  At  North 
Carolina  University  we  keep  a  special  scouting  file  in  which  pertinent 
information  concerning  old  and  new  opponents  is  kept  from  year 
to  year.  These  notes  are  supplemented  by  school  brochures,  articles, 
player  information  sheets,  newspaper  clippings,  and  so  forth.  The 
information  provided  by  the  scout  is  so  vital  that  it  is  important  the 
man  selected  know  as  much  basketball  as  the  coach  himself. 

Scouting  is  no  longer  considered  unethical,  and  it  is  wise  to  ar- 
range for  transportation  and  scouting  game  tickets  far  enough  in 
advance  so  that  the  scout  will  not  be  embarrassed  in  trying  to  get  a 
good  seat  or,  as  has  happened,  find  it  impossible  to  gain  entrance 
because  of  a  complete  sellout.  A  seat  at  the  end  of  the  court  at  as 
high  an  elevation  as  possible  is  to  be  preferred,  although  that  is, 
naturally,  a  matter  of  personal  likes  and  dislikes.  It  is  felt  that  the 


294  GAME    ORGANIZATION,    SCOUTING,    STRATEGY 

end  view  is  best  because  it  allows  the  scout  to  see  the  development 
and  execution  of  the  offensive  plays  as  well  as  the  defensive  pro- 
cedure. 

It  is  my  opinion  that  an  assistant  coach,  the  freshman  coach,  or 
the  head  coach  himself  will  do  the  best  scouting  job.  He  is  familiar 
with  the  players  and  their  capabilities.  It  is  often  advisable  to  pass 
the  notes  along  to  the  freshman  or  the  jayvee  coach  and  have  the 
players  of  these  teams  drilled  in  the  offense  and  defense  used  by  the 
opponents.  Here, 'indeed,  "one  picture  is  worth  a  thousand  words," 
and  your  players  can  better  visualize  the  opposition  by  seeing  it 
acted  out.  Naturally,  the  scout  should  supervise  the  demonstrations 
and  supplement  them  with  a  complete  report  and  player  discussion. 

Scouting  must,  of  necessity,  cover  a  great  many  phases  of  the 
game:  the  offensive  and  defensive  background  of  the  coach  as  a 
player  and/or  as  a  veteran  mentor,  his  strategic  specialties,  the 
players  and  their  degree  of  experience  as  well  as  abilities,  the  quality 
of  the  teamplay,  the  ability  of  the  team  to  employ  special  offensive 
tactics,  and  so  on. 

In  preparing  to  meet  the  opponents'  defense  we  must  have  in- 
formation concerning  the  following: 


MEETING  OPPONENTS'  DEFENSE 
1 

Man-to-man 

2 
Tight  man-to-man 

3 
Loose  man-to-man 

4 
Switching  man-to-man 

5 
Collapsing  man-to-man 


GAME    ORGANIZATION,    SCOUTING,    STRATEGY  295 

6 
Tight  on  the  ball   .  .  .   loose  away  from  the  ball 

7 
Zone  defense 

8 
One-Three-One  zone 

9 
Two-One-Two  zone 

10 
Two-Three  zone 

11 
Three-Two  zone 

12 
One-One-Three  zone 

13 
Three-One-One  zone 

14 
Box-and-One 

15 
Basket  hanger  with  Two-Two 

16 
Man-to-man  with  one  man  playing  free 

17 
Full-court  press 

18 
Semi-court  press 

19 
One-man  press 


296  GAME    ORGANIZATION,    SCOUTING,    STRATEGY 

20 
Two-man  press 

21 
Zone  press 

22 
Special  defenses 

23 
Double-teaming  the  ball 

24 
Forcing  the  dribbler  to  sidelines 


6 


drills  and  practice 
outlines 


OFFENSIVE  DRILLS 

There  are  thousands  of  basketball  drills  and  the  great  majority 
of  them  are  excellent  teaching  mediums.  However,  each  coach  has 
his  favorite  list.  The  following  represent  a  few  I  use  personally  in 
teaching  the  game  skills  and  offensive  and  defensive  team  tech- 
niques. 

The  photograph  on  page  298  shows  our  best  passing  drill.  Four 
balls  are  used  and  the  passing  starts  simultaneously  in  each  corner. 
A  great  variety  of  passes  may  be  used.  For  example,  the  first  pass 
from  player  1  to  player  2  may  be  an  over-the-shoulder  two-hand 
flip.  Player  1  (in  each  corner)  cuts  toward  the  next  corner  (anti- 
clockwise in  this  picture)  and  receives  a  return  baseball  pass  from 
player  2.  Player  1  takes  the  ball  over  his  right  shoulder  while  on  the 
dead  run.  He  then  bounce-passes  the  ball  forward  to  player  2  in 
the  next  corner.  Player  2  returns  the  ball  to  player  1  with  the  same 
over-the-shoulder  two-hand  flip  with  which  the  drill  was  started, 
and  cuts  toward  the  next  corner. 

This  passing  and  cutting  continues  from  corner  to  corner  with 
each  player  taking  part  in  the  drill  and  passing  and  cutting  and 
using  all  the  passes  in  the  book.  The  coach  should  call  the  series 
he  wishes  in  groups  of  three.  For  example,  he  has  just  called  for 

297 


DRILLS    AND    PRACTICE    OUTLINES 


299 


three  passes,  starting  with  the  over-the-shoulder  two-hand  flip,  fol- 
lowed by  the  baseball  pass,  and  finishing  with  the  two-hand  bounce 
pass.  Another  series  might  be:  "One-hand  underhand  back  flip;  one- 
hand  long  bounce  pass;  two-hand  snap  pass." 

The  successful  basketball  team  is  skilled  in  the  use  of  funda- 
mentals. It  bejiooves  every  coach,  then,  to  spend  a  great  part  of  the 
practice  session  in  developing  player  dexterity  in  passing,  dribbling, 
cutting,  handling  the  ball  at  full  speed,  stopping,  turning  and  pivot- 
ing, guarding,  switching,  rebounding,  and  blocking  out. 

In  the  pre-practice  time  the  coach  should  encourage  his  players 
to  use  the  medicine  ball  and  the  jumping  rope  to  improve  their 
hands  and  footwork.  The  coach  should  also  use  this  time  to  check 
each  player's  shots  and  make  sure  each  is  practicing  his  position 
shots  (those  most  often  attempted  in  the  games). 


Chart  140 


Chart  141 


Chart  142 


® 


In  Chart  140  each  player  has  a  ball.  The  balls  cross  in  the  air, 
the  trick  being  to  pass  them  on  the  same  plane  as  rapidly  as  pos- 
sible without  one  ball  hitting  the  other. 

In  Chart  141  players  1  and  2  pass  to  teammate  3  in  turn,  moving 
the  two  balls  as  rapidly  as  player  3  can  handle  the  passes. 

In  Chart  142  the  ball  follows  the  path  shown  from  player  1  to  2 
to  3  to  4  back  to  2  and  to  5  again  returning  to  the  starting  point 
at  player  1.  Only  one  ball  is  used  here,  but  it  is  possible  to  use 
four  balls  at  one  time  and  some  groups  can  use  five.  The  balls  all 
follow  the  same  path  in  the  circulation.  This  is  an  excellent  drill 
for  the  post  or  pivot  player,  and  all  types  of  passes  may  be  used. 


300 


DRILLS    AND    PRACTICE    OUTLINES 


Chart  143 


Chart  143  shows  a  running  drill.  Every  other  player  is  passed 
up.  Player  1  passes  to  player  2.  Player  2  passes  to  player  5,  passing 
up  player  3.  Player  5  passes  up  player  4  and  passes  to  player  6,  and 
so  on. 


Chart   144 


Chart  144  shows  a  marginal-  or  peripheral-vision  drill.  Player  2 
starts  the  drill  by  passing  to  player  1.  Player  1  passes  to  player  5. 
Player  3  passes  to  player  1,  and  1  passes  to  4.  The  passes  continue 
as  follows:  5  to  1,  1  to  6;  4  to  1,  1  to  3;  6  to  1,  1  to  2. 


DRILLS    AND    PRACTICE    OUTLINES 


301 


Chart   145 


The  drill  in  Chart  145  is  designed  to  correct  the  mistake  of  pass- 
ing the  ball  to  a  teammate's  back.  We  call  it  the  hand  target  drill. 
Player  1  passes  the  ball  to  teammate  3  and  cuts.  As  he  cuts  he 
raises  his  right  hand  as  a  target  hand.  Since  he  is  facing  to  the 
right  when  he  passes  the  ball  to  teammate  3,  the  give-and-go  weave 
continuity  should  carry  him  to  the  right  corner.  However,  he  has  not 
raised  his  left  hand  (the  correct  target  hand)  and  player  3  will 
not  pass  the  ball  to  him  until  he  ( 1 )  has  reversed  under  the  basket 
and  reached  point  A .  After  the  reverse,  player  1  will  continue  back 
to  the  righthand  corner.  The  players  like  this  drill  because  the  hand 
signal  designates  the  cutting  path.  In  the  chart,  player  3  passes  the 
ball  to  teammate  2  and  raises  his  right  hand  as  he  cuts;  this  being 
correct,  player  2  may  return  the  pass  to  him  at  once. 

The  three-man  backcourt  weave  shown  in  Chart  146  is  used  in 
the  Three-Two  offense  and  is  good  training  for  the  ball  handling 
needed  to  set  up  the  give-and-go  circulation.  There  may  be  no  re- 
strictions on  dribbling,  as  in  the  chart  here,  or  the  dribble  may  be 
eliminated.  Player  1  passes  to  teammate  2  and  cuts  behind  him. 
Player  2  passes  to  3  and  cuts  behind  him.  The  player  movement  is 
called  a  "flat  figure-eight." 


302 


DRILLS    AND    PRACTICE    OUTLINES 


Chart  146 


Chart  147 


Chart  147  shows  a  standing  "cross-hand"  passing  drill.  The  ball 
is  passed  with  the  left  or  right  hand  but  must  be  thrown  through 
the  air  when  the  passing  hand  crosses  above  the  other  hand.  If  the 
passing  hand  crosses  under  the  other  arm,  the  player  must  use  a 
bounce  pass.  In  the  chart,  player  1  releases  the  ball  with  his  left 
hand  which  has  crossed  under  his  right  arm;  he  must  use  a  bounce 
pass. 

Player  2  passes  the  ball  to  player  3  with  his  left  hand  crossing 
above  his  right  arm.  It  is  a  straight  flip  pass  through  the  air.  Player 
3  passes  the  ball  to  player  4  with  the  right  hand.  Since  the  right 


DRILLS    AND    PRACTICE    OUTLINES 


303 


Chart  148 


hand  crosses  above  the  left  arm,  it  is  a  straight  flip  pass  through  the 
air. 

Chart  148  shows  a  corner  clearout  drill.  Player  1  passes  to  team- 
mate 2  in  the  corner  and  cuts  as  shown.  Player  2  passes  the  ball 
back  to  player  1  and  clears  out  by  cutting  toward  the  pivot  player 
3.  Player  1  now  passes  the  ball  to  the  pivot  player  3  and  cuts  as 
shown.  This  is  an  excellent  drill  for  teaching  men  to  set  up  shots 
and  plays  by  moving  away  from  the  ball. 

The  four-corner  dribble  drill  in  Chart  149  also  teaches  the  use 
of  the  pivot  and  pass.  Player  1  in  each  line  dribbles  to  the  center 
and  pivots  right  or  left  as  the  coach  desires.  He  then  passes  to  the 
corner  toward  which  he  has  pivoted  and  follows  the  ball.  Player 
2  in  each  line  receives  the  ball  and  continues  the  drill. 

Chart  150  shows  a  dribble  pick  drill.  Player  1  dribbles  to  a  posi- 
tion approximately  four  feet  away  from  his  teammate  2  and  sets  a 
pick  (facing  the  basket).  Player  2  maneuvers  right  or  left,  cuts  past 
teammate  1,  and  receives  the  ball.  Adding  defensive  players  to  the 
drill  will  greatly  increase  its  value. 


304 


DRILLS    AND    PRACTICE    OUTLINES 


Chart  149 


Chart  150 


DRILLS    AND    PRACTICE    OUTLINES 

Chart  151 


305 


In  Chart  151  the  pivot  players  dribble  out  to  positions  approxi- 
mately four  to  six  feet  from  their  backcourt  teammates  and  estab- 
lish blocks.  The  pivot  player  on  the  right  has  pivoted  around  to  face 
the  basket.  The  pivot  player  on  the  left  has  established  a  back-up 
position.  The  backcourt  players  in  each  line  may  cut  as  they  wish. 
The  addition  of  defensive  players  to  the  drill  will  again  increase  its 
value. 


Chart  152 


®*G> 


Chart   152   shows   an  excellent  dribble,   drive,   and   shooting 
drill.  The  players  in  each  line  dribble  in  turn  for  the  basket.  The 


306 


DRILLS    AND    PRACTICE    OUTLINES 


ball  must  be  dribbled  with  the  outside  hand.  The  coach  may  yell 
"Hip!"  at  any  time.  If  he  does,  the  dribbler  must  stop  and  attempt 
a  set  or  jump  shot  according  to  the  wishes  of  the  coach.  The 
dribble  and  turn  around  the  coach  on  the  free-throw  line  must  be 
made  with  the  shoulder  opposite  the  dribbling  side  carried  low  to 
develop  drive. 

Here  player  1  is  dribbling  with  his  right  hand  and  has  stopped 
on  the  "Hip!"  to  attempt  a  jump  shot.  Player  2,  dribbling  with  his 
left  hand,  has  continued  on  in  to  the  basket  for  a  lay-up  because 
the  coach  did  not  yell  "Hip!" 

Chart  153 


The  corner-to-corner  roll  shown  in  Chart  153  incorporates  the 
dribble  with  the  outside  hand  for  protection.  Speed  here  is  not  of 
the  essence  since  the  object  is  ball  protection.  The  body  must  be 
kept  low  and  the  ball  must  be  dribbled  opposite  the  right  foot 
when  moving  right  and  opposite  the  left  foot  when  dribbling  to 
the  left.  The  players  may  peel  off  when  they  get  a  good  screen  by  a 
teammate  and  dribble  hard  for  the  basket. 

Chart  154  shows  a  good  dribble,  pivot,  and  cut  drill.  Player  1 
dribbles  to  the  right,  pivots,  and  passes  to  teammate  2.  Teammate 
2  dribbles  to  the  left  with  his  left  hand  and  player  1  spins  away 
and  cuts  for  the  basket.  Player  2  pivots  and  passes  the  ball  to 
teammate  1,  then  spins  and  cuts  for  the  basket.  This  drill  can  ex- 


DRILLS    AND    PRACTICE    OUTLINES 


307 


Chart  154 


tend  the  length  of  the  court  with  other  twosomes  following  behind 
executing  the  same  drill. 

Chart  155 


The  slicing  drill  shown  in  Chart  155  is  used  to  develop  cutting 
ability  and  timing.  Player  1  cuts  first  and  teammate  2  tries  to  cut 
as  closely  behind  him  as  possible.  The  coach  may  vary  the  slicing 
drill  by  yelling  "Hip!"  to  signify  that  (as  above)  he  wants  player  4 


308 


DRILLS    AND    PRACTICE    OUTLINES 


to  pivot  and  follow  teammate  3  in  a  trailer  play.  This  pivot  or  spin 
being  used  by  player  4  is  important  in  avoiding  an  opponent  when 
executing  an  outside  screen. 

Chart  156 


In  the  drill  shown  in  Chart  156  player  1  passes  the  ball  to  team- 
mate 2  who  breaks  out  along  the  free-throw  lane.  Player  1  then 
sets  a  screen  block  in  the  outer  half  of  the  free-throw  circle  for 
teammate  3.  Player  3  cuts  as  shown  and  receives  the  ball  from 
player  2.  Player  3  may  shoot  or  pass  to  teammate  1.  Teammate 
1  makes  the  rebound  if  player  3  shoots,  and  the  drill  continues  with 
the  next  threesome. 

Chart  157 


The  turnaround  play  shown  in  Chart  157  requires  much  prac- 
tice. Player  1  passes  the  ball  in  a  high  toss  to  teammate  2  who 


DRILLS    AND    PRACTICE    OUTLINES 


309 


breaks  out  to  the  ball.  As  soon  as  player  2  gets  the  ball  he  turns, 
holding  the  ball  high  above  his  head,  and  faces  the  basket.  Player 
1  now  follows  his  pass  and  cuts  around  the  turnaround  block. 
Player  2  passes  the  ball  to  the  cutter  1,  dribbles  in  for  a  lay-up,  or 
else  shoots  from  his  position.  The  same  procedure  is  followed  by 
players  3  and  4.  Adding  defensive  players  after  the  turnaround 
technique  is  mastered  will  add  to  the  effectiveness  of  the  drill. 

Chart  158 


The  guard-around  drill  shown  in  Chart  158  is  used  by  many  of 
the  leading  teams  in  the  country.  Some  teams  use  it  as  a  warm-up 
drill,  and  many  incorporate  the  play  in  their  regular  system. 
It  has  many  variations.  Player  1  passes  to  teammate  2  and  breaks 
as  shown.  Player  2  passes  the  ball  to  teammate  3  who  cuts  to  the 
free-throw  line.  Player  3  passes  the  ball  to  player  1  cutting  under 
the  basket. 

When  the  opponents  are  attempting  to  intercept  the  ball  on  its 
advance  from  the  back  court  to  the  front  court,  the  "pass-and-go- 
behind"  (shown  in  Chart  159)  helps  in  protecting  the  ball.  Player 
1  passes  the  ball  to  teammate  2  and  goes  behind  him  as  shown. 
Player  2  dribbles  to  the  left  and  passes  to  teammate  3.  He  then 
cuts  behind  teammate  3  as  shown.  Player  3  dribbles  and  then 
passes  the  ball  to  player  1  who  is  driving  toward  the  basket. 


310 


DRILLS    AND    PRACTICE    OUTLINES 


Chart  159 


Chart  160 


Chart  160  shows  a  common  warm-up  drill.  Player  1  passes  to 
teammate  2  who  shoots.  Player  3  rebounds  and  passes  to  player 
4.  Player  4  passes  to  teammate  5  who  shoots.  Player  6  rebounds 
and  passes  to  teammate  7.  Player  7  passes  to  teammate  8.  Player 
8  shoots. 

Chart  161  shows  a  set-shot  drill.  Players  are  teamed  up  as  are 
player  1  and  player  2.  Player  1  shoots  and  his  teammate  2  makes 
the  rebound  and  takes  the  ball  out  of  bounds.  In  the  meantime, 


DRILLS    AND    PRACTICE    OUTLINES 


311 


Chart   161 


player  1  moves  to  a  different  position  and  player  2  passes  the  ball 
back  to  the  shooter  1  for  another  shot.  Players  3  and  4  are  like- 
wise teamed  up;  after  player  3  shoots,  player  4  makes  the  rebound 
and  takes  the  ball  out  of  bounds.  He  then  passes  the  ball  back  to 
the  shooter  3  in  the  right  corner  for  another  shot. 


Chart  162 


312 


DRILLS    AND    PRACTICE    OUTLINES 


In  Chart  162  player  2  cuts  for  the  basket.  Teammate  1  (with 
the  ball)  passes  to  teammate  2.  Teammate  2  attempts  a  shot  and 
moves  along  the  baseline  and  up  the  right  sideline.  Player  3  makes 
the  rebound  and  passes  to  player  4.  Player  4  passes  the  ball  to 
player  5  who  takes  the  shot.  Player  6  makes  the  rebound  and 
passes  to  player  2  who  has  now  moved  to  the  right  sideline  row  of 
players. 

Chart  163 


In  the  drill  shown  in  Chart  163  each  offensive  player  must  exe- 
cute an  inside  screen  (moving  between  his  teammate  and  his  team- 
mate's opponent)  as  he  passes  the  ball.  Player  1  starts  the  drill  by 
passing  to  teammate  2  and  starting  to  move  between  player  2  and 
defensive  player  B.  As  player  1  starts  his  screen,  he  sees  that  he  is 
going  to  charge  defensive  player  B.  By  executing  an  offensive  roll 
he  can  evade  opponent  B  and  avoid  a  charging  foul.  This  drill  is 
not  as  easy  as  it  may  appear.  Every  screen  must  be  an  inside  screen. 
This  means  that  the  screener  may  have  to  stop  at  certain  times 
to  avoid  a  charge,  or  even  reverse  direction  to  evade  a  defensive 
player. 

The  drill  in  Chart  164  requires  the  use  of  the  outside  screen 
(moving  behind  the  teammate's  opponent)  by  the  passer.  Player 
1  passes  the  ball  to  teammate  2  and  is  forced  to  use  the  offensive 


DRILLS    AND    PRACTICE    OUTLINES 


313 


roll  away  from  opponent  B  to  avoid  a  charging  foul.  Player  2 
dribbles  to  the  left  and  passes  to  teammate  3.  In  order  to  execute 
an  outside  screen  at  this  point,  offensive  player  2  must  execute 
a  quick  stop  and  retreat  until  he  has  enough  room  to  move  to  the 
outside  (behind  opponent  C).  As  in  the  inside-screen  drill,  every 
screen  in  this  drill  mus(  be  executed  properly  (behind  the  op- 
ponents). 


Chart  164 


Chart  165  shows  a  great  conditioning  and  passing  drill  originated 
by  Coach  Howard  Cann  of  New  York  University.  It  requires  ex- 
pert passing  skill  while  the  players  are  moving  at  top  speed.  The 
player  must  not  "travel"  with  the  ball,  it  cannot  touch  the  floor 
(dribble  or  fumble),  and  the  basket  must  be  made.  Should  a 
player  travel,  dribble,  fumble,  or  should  one  player  fail  to  receive 
the  ball,  the  coach  calls:  "And  again!"  This  continues  until  the 
five  players  can  make  it  down  and  back  again  without  making  a 
mistake.  Then  five  other  players  try  it.  ' 


314 


DRILLS    AND    PRACTICE    OUTLINES 


Chart   165 


db 

@           \ 

y 

\ 

(Z) 

S) 

DRILLS    AND    PRACTICE    OUTLINES 


315 


Chart  166 


The  fast-break  drill  in  Chart  166  serves  a  number  of  purposes. 
Player  1  takes  the  shot  (anyone  may  shoot)  and  defensive  players 
A,  B,  and  C  form  the  defensive  triangle  under  the  basket  after  mak- 
ing sure  they  have  blocked  out  their  opponents,  1,2,  and  3.  Player 
C  makes  the  rebound  and  immediately  passes  to  teammate  E  who 
has  broken  to  the  free-throw  line  with  the  shot  after  making  sure 


316 


DRILLS    AND    PRACTICE    OUTLINES 


his  opponent  5  is  not  going  to  follow  in.  Teammate  D  has  done 
likewise. 

Player  E  now  passes  to  teammate  D  who  dribbles  rapidly  up 
the  center  of  the  court.  The  other  players  fill  the  fast-break  lanes 
as  shown.  Player  A  is  the  trailer  and  teammate  C  (the  rebounder) 
is  in  charge  of  the  defensive  balance. 


Chart  167 


The  "tap-in"  drill  in  Chart  167  makes  a  fine  warm-up  drill  as 
well.  Player  1  passes  to  teammate  2  who  shoots  and  deliberately 
misses  the  basket  with  a  lay-up  shot  against  the  backboard.  Player 
3  leaps  high  in  the  air  and  taps  the  ball  back  up  against  the  back- 
board (preferably  with  two  hands)  and  into  the  basket.  Player  4 
makes  the  rebound  and  passes  the  ball  to  teammate  5  in  the  op- 
posite line.  Player  5  misses  the  lay-up  purposefully  and  teammate 
5  makes  the  tap-in  shot.  Player  7  makes  the  rebound  and  passes 
the  ball  to  teammate  8.  This  drill  keeps  the  players  moving  and 
requires  great  skill  for  proper  execution. 

Chart  168  shows  an  excellent  passing  and  warm-up  drill.  Player 
1  passes  the  ball  to  teammate  2  and  follows  his  pass  slightly  to  the 
right  and  toward  the  basket.  Player  2  passes  to  teammate  3  who 
has  cut  to  the  basket  and  takes  the  shot.  The  original  passer  follows 
in  as  teammates  2  and  3  continue  on  to  the  left  and  right  corners. 


DRILLS    AND    PRACTICE    OUTLINES 


317 


Chart  168 


Player  1  makes  the  rebound;  he  may  pass  to  either  corner  de- 
pending upon  his  position.  In  the  chart,  he  passes  to  teammate  2 
in  the  left  corner,  and  follows  his  pass.  Player  2  may  pass  the  ball 
back  to  the  center  line  if  only  one  ball  is  used.  However,  the  drill 
works  much  more  smoothly  if  each  group  of  three  players  has  a 
ball.  In  this  case,  player  2  would  dribble  up  the  sideline  and  be- 
hind the  left  line  to  the  center  line  where  he  would  become  the 
passer  and  rebounder  when  his  turn  came  up  again. 


OFFENSE  PRACTICE  OUTLINES 


Most  college  coaches  have  a  fairly  good  idea  of  the  abilities  of 
the  players  reporting  for  the  team.  This  enables  them  to  quickly 
weed  out  the  weak  material  and  initiate  their  regular  planned 
practice  program  at  once.  However,  some  coaches  are  overwhelmed 
by  the  number  of  candidates.  It  is  important  and  in  the  best  in- 
terest of  the  team  that  the  players  who  do  not  measure  up  to 
varsity  status  be  eliminated. 


318  DRILLS    AND    PRACTICE    OUTLINES 

In  my  opinion,  there  is  only  one  fair  way  to  eliminate  the  poor 
players  and  that  is  through  the  medium  of  formal  scrimmage. 
Judging  players  by  their  skill  in  executing  fundamental  drills  is 
fairly  simple,  but  it  often  leaves  the  unsuccessful  candidate  with 
the  feeling  that  he  wasn't  given  a  fair  chance. 

The  daily  practice  program  should  be  planned  carefully  be- 
cause every  minute  is  precious.  This  means  that  the  coach  and  the 
players  must  be  punctual  and  report  for  practice  on  time.  The 
planned  program  will  eliminate  a  lot  of  waste  time  and  enable  the 
coach  and  players  to  move  quickly  from  one  phase  of  the  practice 
to  another.  It  should  be  posted  on  the  dressing-room  bulletin 
board  so  the  players  will  know  what  the  coach  is  trying  to  accom- 
plish. Skull  practices  are  important  in  explaining  the  purpose  of 
each  drill.  With  this  preliminary  information,  the  players  will  un- 
derstand how  the  drill  works  into  the  regular  offensive  or  defensive 
style  of  play. 

It  is  important  that  the  practice  outline  be  varied  to  eliminate 
"sameness"  and  boredom.  Drills  should  be  executed  with  enthusi- 
asm, and  it  is  wise  to  keep  each  drill-time  short  and  to  move 
quickly  from  one  drill  to  another.  It  is  important,  too,  that  the 
drills  be  varied  in  intensity.  We  like  to  alternate  running  and 
standing  drills — but  we  never  stop  working. 

We  do  not  believe  in  devoting  any  of  our  limited  practice  time 
to  conditioning  as  such.  We  feel  that  the  running  drills  and  squad 
scrimmages  take  care  of  the  conditioning.  Most  basketball  play- 
ers realize  the  importance  of  developing  top  condition  and  will 
spend  personal  time  in  outside  running  (sprints — trotting — walk- 
ing). 

At  North  Carolina  we  like  to  combine  our  individual  and  team 
drills  with  the  development  of  our  basic  offense  and  defense  be- 
ginning with  the  very  first  practice.  The  first  week  is  considered  an 
orientation  week  during  which  we  introduce  the  details  of  our 
style  of  play  and  bring  our  players  along  slowly  from  the  physical 
point  of  view. 

Beginning  with  the  fourth  week,  our  practice  program  follows 


DRILLS    AND    PRACTICE    OUTLINES  319 

the  general  outline  of  the  third  week.  Naturally,  new  plays  and 
drills  are  presented  to  the  players  from  time  to  time  to  maintain 
interest.  Hard  practices  are  scheduled  after  easy  games;  and  easy 
workouts,  or  none  at  all,  follow  difficult  games.  The  practice  time 
must  be  allotted  to  permit  the  checking  of  offensive  and  defensive 
weaknesses  that  become  apparent  in  the  games.  Scouting  informa- 
tion will  itself  require  considerable  time.  However,  the  funda- 
mental work  and  drills  must  not  be  neglected.  Fundamentals 
should  be  drilled  every  day.  The  coach  should  stick  to  his  regular 
program  and  revise  it  each  day  to  meet  unusual  situations  and 
problems. 


FIRST  WEEK 

Concentration  during  this  week  is  upon  the  development  and 
performance  of  fundamentals,  although  the  basic  offensive  style  of 
play  will  be  introduced.  The  squad  should  be  divided  into  small 
groups  for  the  drills  so  that  particular  attention  may  be  given  to 
details.  Drills  should  be  limited  to  short  periods  of  time  with 
emphasis  being  placed  upon  familiarizing  the  players  with  their 
purposes  and  execution. 


Monday— Tuesday— Wednesday 
4:00  P.M. 

Practice  begins  with  a  game  warm-up  drill. 

4:10 
Passing— Screening— Discussion— Drills. 

4:25 
Shooting  techniques  and  areas  (discussion  and  demonstration). 

4:40 
Shooting  drills  (alternate  running  and  standing). 


320  DRILLS    AND    PRACTICE    OUTLINES 

5:00 

Defensive  work. 

5:30 

Offensive  formation  and  plays.  Discussion  and  demonstration  of 
the  basic  style.  Position  requirements,  screening,  passing,  and 
shooting  possibilities. 

5:40 

Dismissal. 

Th  u  rsday— Friday— Satu  rday 
4:00  P.M. 

Practice  begins  with  a  game  warm-up  drill. 

4:10 
Passing  drills. 

4:20 
Shooting  drills. 

4:30 
Offensive  formation  and  plays. 

4:45 
Defense. 

5:30 
Full-court  running  drills. 

5:50 
Dismissal. 

SECOND  WEEK 

We  can  speed  up  our  running  and  drill  work  this  week  since  the 
players  now  are  in  fairly  good  condition  and  are  familiar  with  the 


DRILLS    AND    PRACTICE    OUTLINES  321 

details  of  the  drills  and  fundamentals.  Beginning  Thursday,  we 
will  initiate  our  offensive-situation  techniques  and  a  daily  scrim- 
mage with  which  to  end  our  practices. 


Monday— Tuesday— Wed  nesday 
4:00  P.M. 

Practice  begins  with  a  game  warm-up  drill. 

4:10 
Passing  and  screening  drills  at  full  speed. 

4:25 
Shooting  drills.  (Alternate  running  and  standing.) 

4:40 

Basic  offense.  (Plays  are  introduced  and  practiced  in  slow  mo- 
tion.) 

5:00 

Relaxation  period.  (Players  may  rest,  practice  individual  skills, 
or  engage  in  "fun"  drills.) 

5:15 

Defensive  work. 

5:40 
Full-court  running  drill. 

5:50 
Dismissal. 

Thursday— Friday— Saturday 


Team  candidates  who  showed  little  ability  have  undoubtedly 
been  sent  to  the  jayvee  squad.  At  the  end  of  this  week  another  cut 
may  be  made  because  the  coach  will  have  had  an  opportunity  to 
see  the  remaining  doubtful  candidates  in  the  scrimmages. 


322  DRILLS    AND    PRACTICE    OUTLINES 

4:00  P.M. 

Practice  begins  with  a  game  warm-up  drill. 

4:10 
Offensive  fundamental  drills  (running). 

4:20 

Offensive  situation  techniques  (jump-ball,  out-of-bounds,  free- 
throw). 

4:40 

Defensive  work. 

5:20 

Scrimmage.  (Basic  offense  and  basic  defense  only  are  used,  and 
the  coach  must  correct  mistakes.  Do  not  permit  these  initial  scrim- 
mages to  degenerate  into  wild  individual  performances.  Stress 
and  develop  teamplay.) 

5:40 

Dismissal. 


THIRD  WEEK 

The  coach  can  now  stress  offensive  position  work  and  dwell 
upon  defense.  Players  are  now  capable  of  working  at  top  speed  in 
all  drills  and  the  results  of  the  previous  practices  will  be  apparent. 
The  coach  will  begin  to  recognize  his  scorers,  his  passers,  and  his 
quarterbacks.  If  possible  a  scrimmage  game  with  another  team 
should  be  scheduled  for  Friday  or  Saturday.  At  the  end  of  this 
week  the  final  cut  should  be  made. 


4:00  P.M. 

Practice  begins  with  a  game  warm-up  dril 

4:10 
Offensive  running  drills. 


DRILLS    AND    PRACTICE    OUTLINES  323 

4:20 

Individual  instruction  in  the  correct  use  of  the  various  shots. 
(Choose  the  player  who  has  the  best  form  for  the  demonstration 
of  his  particular  specialty.) 

4:40 

Defensive  work. 

5:20 
Offensive  situation  work. 

5:30 
Scrimmage. 

5:50 
Dismissal. 

The  first  game  will  probably  now  be  close  at  hand.  The  coach 
should  make  sure  that  his  team  is  completely  equipped  to  cope 
with  all  game  situations.  Several  skull  practices  should  be  held 
unless  they  limit  the  practice  time.  The  coach  must  not  let  game 
anticipation  obscure  the  importance  of  continued  practice  of 
fundamentals.  Don't  overlook  the  necessity  of  being  ready  to  meet 
the  various  zones,  the  full  press  and  its  variations,  as  well  as  the 
combination  defenses.  Be  sure  to  cover  your  scouting  notes  care- 
fully and  run  through  your  coaching  checklist  to  make  sure  that  you 
have  not  overlooked  some  important  phase  of  the  game. 

It  is  wise  to  rehearse  your  game  organization  before  the  first 
game:  dressing-room  procedure;  coming  out  on  the  court  (run!); 
warming  up;  reporting  to  the  official  scorer  and  the  referee;  com- 
ing out  of  the  game;  and,  most  important,  sportsmanlike  perform- 
ance on  and  off  the  court. 


CONCLUSION 

The  preceding   basketball   philosophies,   principles,    individual 
and  team  fundamentals,  and  their  application  to  games  are  gen- 


324  DRILLS    AND    PRACTICE    OUTLINES 

erally  concerned  with  offensive  basketball  as  played  at  North 
Carolina  University. 

This  book  has  been  designed  for  basketball  coaches  and  players 
at  all  levels.  Much  space  has  been  devoted  to  individual  offensive 
fundamentals,  techniques,  and  methods  of  teaching  them.  Offen- 
sive team  play  has  been  approached  from  the  coach's  point  of  view. 
Following  a  thorough  grounding  in  the  individual  elements  of  team 
play,  the  coach  has  been  provided  with  a  complete  offensive  style 
of  play. 

Offensive  variations  are  woven  into  the  basic  team  pattern  in 
such  manner  that  the  coach  who  adopts  the  North  Carolina  Uni- 
versity style  of  play  will  find  his  team  fully  prepared  to  meet  all 
types  of  defenses. 

In  addition,  a  great  number  of  tactical  and  strategic  team 
weapons  are  included  in  the  text  so  that  the  coach  will  have  suf- 
ficient material  with  which  to  surprise  his  team's  opponents. 


index 


Accuracy: 

passing,  29 

shooting,  93 
Adaptability,  team,  9-10 
Administration,  school,  1,  2 
Advancement,  154-56 

following  interception,  155 

surprise  defense  and,   155-56 
Aggressiveness,  5 
Aids,  coaching,  10 
Aiming,  102 
Angle,  shooting,  105 

chart,  106 

of  tip-ins,  114 
Angle  cut,  80 
Areas : 

rebound,  160 

shooting,  11 

under-basket,  210 
Arizin,  Paul,  67 
Assistants,  coaching,  5 

note-taking  by,  291 

scouting  by,  294 

at  staff  meetings,  15 
Athlete's  foot,  17 
Attack  (see  also  Offense) 

front-court,  86 

slowing  down,  12 

style  of,  10 
Authority,  6 
Averages,  shooting,  93 


B 


Backboard: 

shooting  angle  and,  104 

tip-in  shots  and,  114 

use  of,  in  shooting,  103-4 


Back-bounce  pass,  32 
Backcourt  men,  23 

characteristics  of,  150 

responsibilities  of,  151,  153 

in  Three-Two  attack,  247 
Back-flip  pass,  33 
Back  line,  150 
Back  screen,  88 
Back  tap,  255 
Back-up  shots,   102,   115-18    (see  also 

Shots,  types  of) 
Balance,  52 

court,  151,  153 

defensive,  204,  206 
Ball-and-foot  fake,  67 
Ball  handling: 

catching,  28-29 

dribbling,   64-67    (see  also   Drib- 
bling) 

passing  (see  Passes,  Passing) 
Bank  shots,   105 
Baseball  pass,  32-33 
Basic  offense,  208-10 
Basket,  102  (see  also  Rim) 
Basketball: 

coach's  duty  to  improve,  3-4 

control,    266-68    (see    also    Control 
game) 

defensive,  266 

in  educational  system,  1 

as  game  of  motion,  78 

philosophy  of,  7-13 

players,  22-26    (see  also  Players) 

professional,  23,  24 

rules  and,  3 

year-round  play,  13 
Basket  hanger,  295 
Bee,  Claire,  236 
Blackboards: 

to   illustrate   situations,    10 


325 


326 


INDEX 


Blackboards  ( Cont. ) : 

pre-game  use,  288 

use  at  squad  meetings,  16 
Blocking  posts,  115,  282 
Block  plays,  203 
Blocks,  86,  110  (see  also  Screens) 

in  attacking  sag  and  float,  280 

double,  92 

dribble,  174 

inside  screen,  88 

outside  screen,  89 

post-pivot,    196 

rear  dribble,  91 

rear  post,  90 

side  dribble,  91 

side  post,  89 

triangle  dribble,  90 

turnaround,  212 
Bounce  passes,  31-32 
Bowling  pass,  33 
Box-and-One  defense,  295 
Breaking,  78 
Break-out,  85 
Bunched  defense,  234 
Buttonhook  shot,  109,  116 


Calisthenics,  16-17,  25 
Candidates: 

selection  of,  26-27 

unsuccessful,  28 

weeding  out,  317-18,  321,  322 
Cann,  Howard,  313 
Captains,  15 

relations  with  coach,  11 

selection  of,  14 
Catching  28-29 
Celtics,  original,  115 
Center-tap,  250,  254   (see  also  Jump- 
ball  situations) 
Championship  teams,  172 
Change-up,  81 
Character  building,  3 
Charging,  313 
Chart,  performance,  27 
Chest  pass,  31 
Circulation,  167-69 
Clean  shots,  104,  114,  116 
Coaches,  6-7,  317-18 

assistant,  5,  15,  291,  294 

background  of,  294 

as  character  builders,  7 

code  for,  1-7 

duty  to  improve  game,  3-4 

early-season  planning,  17 


Coaches  ( Cont. ) : 

enthusiasm  of,  10 

as  faculty  members,  1 

freshman,  291,  294 

in-season  planning,  18-21 

jayvee,  294 

leadership  by,  5 

newspapers  and,  2-3 

planning  for  games  by,  285 

practice  programs  and,  5-6 

pre-season  duties,  13-17 

professional  interests  of,  3-4 

public  relations  and,  2 

relations  with  captains,  11 

relations  with  players,  4 

relations  with  students,  2 

and  school  loyalty,  2 

as  scouts,  294 

and  selection  of  varsity,  26-28 

sportsmanship  by,  3 

as  students  of  game,  3 

teams  and,  4 

weeding  out  by,  317-18,  321,  322 

as  youth  leaders,  7 
Coaching,  10-11 

code  of,  1-7 

drills  and,  297  (see  also  Drills) 

individual,  6 

and  style  of  attack,  10 
Coaching  aids,  10 
Coaching  code,  1-7 
Coaching  schools,  3 
Confidence,  5 
Conditioning,  10,  18-21 

drills  for,  16-17,  313 

early  season,  16 

maintaining     during     season,     18-21 
(see  also  Training  rules) 

methods  of,  17 

practice  time  and,  318 
Confidence,  player,  275 
Contact,  defined,  224 
Control  game,  266-68,  286 

passing  and  screening  in,  267 

systems,  267 

when  opponents  play  running  game, 
289 
Corner  break-out,  85 
Corner-clearout  drill,  303 
Corner-clearout  play,   198 
Corner  loop  cut,  81 
Corner  men,  23,  24,  85,  150 

characteristics  of,  151 

responsibilities  of,  151,  153 

in  Three-Two  attack,  247 


INDEX 


327 


Corner-pivot  plays,   195-196 
Corner-to-corner  roll,  306 
Court,  inspection  of,  14 
Court  balance,  151,  153 
Criticism,  6,  23 
Cross-court  Reverse,  81 
Cross-body  pass,  33 
Cross-face  pass,  33 
Cross-hand  passes,  302 
Cutter,  74 
Cutting,  77-85 
angle,  80 
breaking  and,  78 
characteristics  of  good,  78 
diagonal,    118-19 
drill  in,  297 
teaching  of,  78-79 
types  of,  80-85 
angle,  80 

corner  break-out,  85 
corner  loop,  81 
Cutting: 
types  of: 

cross-court  reverse,  81 

Reverse  Post,  84,  85 

S,  82 

scissors,  83 

slice,  82 

under  and  out,  85 

V,  84 

D 

Dead  ball,  103 
Deception,  30 
Decisions,  288 

near  end  of  game,  293 

when  to  freeze,  292-93 
Deep  back  tap,  251 
Defense: 

against    opponent's    leading    scorer, 
291 

basket   hanger   with   Two-Two,    295 

Box-and-One,  295 

bunched,  234 

changing,  207 

changing  offense  to  meet,  12-13 

combination,  150 

control  game  and,  267 

fakes  and,  74 

jump  shot  and,  113 

man-to-man     (see    Man-to-man    de- 
fense ) 

positions  for,  23 

press,    155,    275    (see    also    Press) 


Defense  ( Cont. ) : 

rebounding  by,  77-78 

sag  and  float,  280-81 

screens  and,  86 

surprise  moves  in,  155 

switch,  150,  282,  283,  294  (see  also 
Switch  defense) 

Two-One-Two,  241 

variations  in,  281-84 

versus  offense,  267 

zone  (see  Zone  defense) 
Defensive  balance,  204,  206 
Defensive  triangle,  315 
Dehnert,  Dutch,  115 
Diagonal  cuts,  118-19 
Diagonal  hook  shot,  118-19 
Diagonal  plays,   195 
Diagonal  shots,   102,   118-19   (see  also 

Shots,  types  of) 
Diet,   19-20 

fatigue  and,  21 

suggested,  20 
Discipline,  6,  8 
Double  block,  92 
Double  screen,  293 
Double-teaming,  275,  292,  293,  296 
Double-time,  65 

Dressing  room    (see  Locker  room) 
Dribble  block,  174 
Dribble-screen,  193 
Dribble-trailer,  193 
Dribbling: 

changing  direction,  65 

drills  in,  303,  305 

faking  and,  64-65 

fast  break  and,  157-58 

during  freeze,  268,  271 

press  and,  275 

protecting  ball  during,  156 

reverse,  65 

rules  for,  65-67 

technique  of,  64-65 

trapping,  65,  66 

use  of,  64 
Drills: 

conditioning,  313 

corner-clearout,  303 

cross-hand  passing,  302 

cutting,  297 

to    develop    fundamentals,    5-6,    299 

dribbling,  303,  305 

drive  and  shooting,  305 

fast-break,  17,  315 

full-press,  17 

fun,  5 


328 


INDEX 


Drills  (Cont,): 

fundamental,  299 

guard-around,  309 

hand  target,  301 

importance  of,  6 

inside  screen,  312-13 

passing,  29,  297-98,  316-17  (see  also 
Passing  drills) 

peripheral  vision,  300 

pivot  and  cut,  306 

pivoting,  52 

for  pivot  man,  299,  305 

running,  300 

shooting,  93,  310-12 

slicing,  307-8 

spread-eagle,  76 

tap-in,  316 

three-man  passing,  288 

varied  to  avoid  boredom,  318 

warm-up,     286,     288-89     (see    also 
Warm-up  drills) 
Drive  and  shot  fake,  74 
Driving,  105,  107,  110 
Dummy  play,  74,  154,  155 
Dunking,  76,  114-15 


E 


Eastern  style  offense,  24 
Elimination  (see  Weeding  out) 
Enthusiasm,  10 
Equipment,  inspection  of,   14 
Exercising,    13    (see  also   Calisthenics) 


Facing  shots,   102,   105-115    (see  also 

Shots,  types  of) 
Faculty; 

coach  as  member  of,  1 

coach's  relations  with,  2 
Fakes: 

ball-and-foot,  67 

defense  and,  74 

defined,  67 

drive  and  shot,  74 

dummy  play,  74 

failure  of,  74 

sag  and  float  and,  280 

snap  passes  and,  31 
Fake-shot  pass,  34 
Faking,  defined,  67 
Fall-away,  114 
Fast  break: 

ahead  of  zone  formation,  247-48 


Fast  break  (Cont.): 

backcourt  players  and,  23 

drills  in,  17,  315 

from  game  situations,   160^66 

lay-up  shots  and,  107,  108 

from  man-to-man  and  zone  defense, 
157,  164 

offense  begins  with,  12 

passing  and,  32 

planning,  285 

principles  of,  158-60 

purpose,  156 

rules  for,  166-67 

technique  of,  157 

variations  in,  156 
Fatigue,  21 
Feeder,  23,  115 
Feeding: 

hand-off,  115 

hook  pass  for,  32 

to  pivot  man,  23 
Feet,  care  of,  17 
Feints  (see  also  Fakes) 

defined,  67 

failure  of,  74 

snap  passes  and,  31 
Five-man  roll,  237 
Five-man  weave  offense,  23,  24,  210- 

12 
Float,  280-81 
Floaters,  280 
Follow-through,  104 
Footwork,  52 
Four-man  roll,  238 
Forward  flip  pass,  33 
Forward  tap,  253 
Fouls: 

by  defense,  86,  291 

drawing,  118 

personal,  287 

removal  of  player  for,  290 
warning  players  of,  291 

during  screening,  86 

to  secure  ball,  293 
Foul  shots  (see  Free  throws) 
Four-man  roll  offense,  23,  24,  238 
Free-throw  circle,   150 
Free-throw  lane,  108,  150 
Free  throws: 

playing  the  lane  for,  266 

positions  during,  268 

practice  of,  120 

two-hand  overhand,  120 

two-hand  overhead,  120 


INDEX 


329 


Freezing,  12,  84,  268,  271-75 

complete,  271 

decision  for,  291-92 

dribbling  during,  268,  271 

give-and-go-away,  272-73 

give-and-go  weave  in,  169 

method  of,  292 

pass,  292 

rules  for,  274-75 

weakness  in,  292-93 
Freshman  coach,  291,  294 
Full-court  press,   286,   289,   295    (see 

also  Press) 
Full-press  drills,  17 
Fumbling,  28 
Fundamentals,  11,  13,  319,  321 

in  building  offense,  208-9 

conditioning  and,  16*  17 

drilling  in,  5-6,  299 

importance  of,  4-5 

pre-season  practice  of,  13 

repetitive  drills  in,  5-6 
Fun  drills,  § 


Garnet 

control,    266-68    (see    also    Control 
game) 

normal,  286,  289 

running,  266,  289 

style  of,  286,  289 
Games: 

announcement  of,  2-3 

decisions  during,  288 

first,  323 

officiating  of,  3 

planning  for,  285-88 

rules  and,  3 

scrimmage,  322 
Give-and-go  continuity,  78-79,  82 
Give-and-go  plays,  186 
Give-and-go  weave,  167-72,  179,  210- 
12,  283 

cumulation,  167-69 

five-man,  210-12,  247 

freezing  with,  169 

screens  and,  169 

as  teaching  medium,  169 

three-man  plays  in,  196 

in  turnabout  play,  177,  179 

turnaround  block  in,  212 
Guard-around  drill,  309 
Guard-around  play,  81 
Gymnasium,  inspection  of,  14 


H 


Half -hook  shot,  117 
Half-time,  287,  291 
Handball,  173 
Hand-off,  115 
Hand-off  feeder,  115 
Hand  target  drill,  301 
Hard  stop,  110,  113 
Health,  1-2 

and  fatigue,  21 

player,  11 
Heavy-bag  punching,  25,  173 
Height: 

of  corner  men,  23 

dunking  ability  and,  76 

hook  shots  and,  117 

importance  of,  22 

utilizing,    172-75    (see   also   Players, 
tall) 

value  in  jumping,  75 
Held-ball  situations,  75,  207,  208  (see 

also  Jump-ball  situations) 
Hesitation,  108 
Hook  pass,  32 
Hook  shot,  116-17,  118-19 


Illnesses,  2 
Injuries : 

coach's  responsibility,  2 

treatment  of,  2 
Inside  screen,  87,  225,  226 
Inside  screen  block,  88 
Inside  screen  drill,  312-13 
Interception,  154,  155 
Intramural  programs,  2 


J 


Jayvee  coach,  294 
Jayvee  squad,  9,  321 
Judgment,  passing,  30 
Jump-ball  situations,  250-55   (see  also 
Tap) 

development  of  plays  from,   250-51 

formation  for,  253 

front-court,  253 

occurrence,  75 
Jumping,  75-77 

developing  skill  in,  76 

rope,  13,  17,  25,  173,  299 

uses  of,  75 
Jump  pass,  34 


330 


INDEX 


Jump  plays   {see  Jump-ball  situations) 
Jump  shots,  112-13,  16,  119  {see  also 
Shots,  types  of) 


K 


Kill,  105,  106 


Lane: 

free-throw^  108,  150 

playing,  266 
Lay-up    shots,    105,    107-9    {see    also 

Shots,  types  of) 
Leadership,  coaching,  5 
Lineup,  starting,  285,  288 
Lob  pass,  33-34 
Locker  rooms: 

before  game,  285,  288 

supervision  of,  5 
Long  Island  University,  236 
Loop  cut,  81 
Luisetti,  Hank,  113 


M 


Managers,  5 

duties  of,  14-15 

selection  of,  14 
Man-to-man  defense: 

changed  to  zone,  207 

fast  break  from,  157 

front-line,  with  back-line  zone,  281, 
282 

information  on,  294 

offense  against,  208-10 

Two-Three  attack  and,  150 

types  of,  294 

zone  principles  in,  280 
Marginal  vision,  30,  300 
Marksmanship,    93,    102-21    {see    also 

Shooting ) 
Medicine  balls,  13,  17,  25,  31,  299 
Meetings : 

pre-game,  288 

squad,  16 

staff,  15 

checklist  for,  15-16 
Mental  fatigue,  21 
Morale,  13 

praise  and,  6 

reserve,  8-9 

team,  79 

of  winning  teams,  21 
Moving  pivots,  169 


N 


Newspapers,  2-3 

New  York  University,  313 

North    Carolina    University,    11,    167, 

247,  250,  267,  268,  275,  285, 

293,  318,  324 
Notes,    scouting,    285,    323    {see    also 

Scouting) 


O 


Offense : 

adapting  to  defense,  12-13 
against  combination  defense,   281 
against    One-Three-One    zone,    245- 

46 
against  One-Two-Two  zone,   242-44 
against  press,  275-79 
against  sag  and  float,  280-81 
against  Three-Two  zone,  244-45 
against  Two-One-Two  zone,   238-41 
against  Two-Three  zone,  241-42 
basic,  208-10 
changing,  207 
checklist,   153-54 
control  game,  266-67 
directed    against    front-line    players, 

282 
Eastern  style,  24 
fast  break  in,  12 

five-man  roll,  237   {see  also  Rolls) 
five-man  weave,  23,  24 
four-man  roll,  23,  24,  238   {see  also 

Rolls) 
four-man  weave,   150 
fundamentals  and,  208-9 
general,  12 

give-and-go  weave,  150 
mixing,  289 
One-Three-One,  234,  236,  239,  247- 

48 
positions  for,  23-24 
roll,  150,  283 

screening  in,  86  {see  also  Screens) 
single-pivot,  153 
single-post,  153 
spread,  154 
starting,  285,  288 
Three-Two,  24,  150,  247 
Two-Three,  23,  150-53,  196,  212-46, 

283 
Two-Two-One,     234-35,     236,     239, 

241,  242-44,  247-48 
versus  defense,  267 


INDEX 


331 


Offense   (Cont.): 

Western  Roll,  24 

zone,  247-49 
Offensive  plays,  212-34  (see  also  Plays) 
Offensive  roll,  92 
Officials,  323 

coach's  support  of,  3 

incompetent,  3 

in  jump-ball  situations,  75,  76-77 
Official  scorer,  323 
Officiating,  3,  76-77,  323 
Oklahoma  A.  &  M.,  267 
One-on-one  play: 

developing,  173 

in  freezing,  271 

value  of,  151 
Organization: 

game,  323 

game-day,  285-88 
Orientation,  318 

Outlet  passes,  157,  158,  160,  162 
Out-of-bounds   situations : 

formations  for,  256 

scoring  possibilities,  256 

sideline,  260 

under-the-basket,  260 
Outside  screen,  87,  224 
Outside  screen  block,  89 
Overcoaching,  10 
Overhead  pass,  32 
Overhead  shots,  110-11,  112 
Over-the-rim  shots,   114-15 


Parents : 

coach's  relations  with,  2 

permission  of,  16 
Pass-and-go-behind,  309 
Passes: 

in  advancement,  154-56 

back-bounce,  32 

back-flip,  33 

baseball,  32-33 

bounce,  31-32 

chest,  31 

cross-face  and  cross-body,  33 

fake-shot,  34 

forward  flip,  33 

hook,  32 

interception  of,  154,  155 

in-the-air,   160 

jump,  34 

lob,  33-34 


Passes  ( Cont. ) : 

long,  157 

from    out-of-bounds,    154    (see    also 
Out-of-bounds  situations ) 

outlet,  157,  158,  160,  162 

overhead,  32 

rules  for  making,  34-35 

two-handed  chest,  31 
Passing,  29-31 

accuracy  and,  29 

cutting  and,  78 

deception  in,  30 

dribbling  and,  64 

drills  in  (see  Passing  drills) 

when  freezing,  273 

fumbling  and,  28 

judgment  and,  30 

methods  of,  31-35   (see  also  Passes) 

to  pivot  man,  32 

rules  for,  34-35 

speed  in,  29-30 

split  vision  and,  30 
Passing  drills: 

cross-hand,  302 

four-ball,  297-98 

necessity  for,  29 

warm-up  and,  316-17 

weave  type,  273 
Pep  meetings,  2 
Pep  talks,  21 
Performance  charts,  27 
Peripheral  vision,  30,  300 
Permission,  parents'  playing,   16 
Personal  fouls   (see  Fouls,  personal) 
Physical  examinations,  16 
Physical  fatigue,  21 
Physicians,  2 

services  of,  11 

weight  problems  and,  19 
Pivot,  moving,  169 
Pivot  drill,  52,  306 
Pivot  foot,  67 
Pivoting,  teaching  of,  52 
Pivot  man,  23,  24,  85,  90,   106,   115, 
116 

characteristics  of,  151 

drills  for,  299,  305 

development  of,  172-75 

feeding  to,  32 

key  player  in  Two-Three,  153 

location  of,  150 

opportunities  of,  210 

responsibilities,  151,  153 

shots  used  by   (see  Back-up  shots) 

in  three-man  plays,  196 


332 


INDEX 


Pivot  spin,  224 
Planning: 

early  season,   17 
game-day,  285-88 
in-season,  18-21 

meetings,  15-16  (see  also  Meetings) 
pre-season,  13-17 
Players,  7-9 

attributes  of,  22 

backcourt  (see  Backcourt  men) 

back-line,  281,  282 

checklist  for,  25-26 

conditioning  of,  10,  18-21   (see  also 

Conditioning ) 
confidence     against     press     defense, 

275 
in  control  game,  267 
corner  (see  Corner  men) 
development  of,  22-23 
discipline  of,  8 
dribbling  skill  of,  64-65 
duties  of,  4 
enthusiasm  of,  8 
front-line,  281,  282 
health  of,  1-2,  11 
ideal,  24-25 

individual  coaching  and,  6 
jayvee,  9,  321 
maintaining    interest    of    nonvarsity, 

28 
overplaying  of,  8 
parents  of,  2,  16 
personal  character  of,  7 
pivot  or  post  (see  Pivot  man) 
positions,  23-24 

backcourt,  23 

corner,  23,  24 

post  or  pivot,  23,  24 
pre-season  activities,  13,  16 
qualities  of  team,  27 
quarterback  (see  Quarterbacks) 
relations  with  coach,  4 
reserve,  8-9 
selection  of,  151 
selection  for  varsity,  26-28 
sportsmanship  by,  3 
tall,  172-75   (see  also  Pivot  man) 

blocking,  174 

defense  by,  172-73 

developing  skills  of,  173 
training  and  health  of,  1-2 
training  in  basic  skills,  11 
Western,  113 
weight  levels  of,  19 
Playing  the  lane,  266 


Plays: 

block,  203 

center-tap,  250,  254 

corner-pivot,  195,  196 

diagonal,  195 

dummy,  74,  154,  155 

give-and-go,  186 

jump   (see  Jump-ball  situations) 

last-minute,  293 

offensive,  212-34 

one-on-one,  151,  173,  271 

out-of-bounds,  256-66  (see  also  Out- 
of-bounds  situations) 

three-man,  196-207  (see  also  Three- 
man  plays) 

three-point,  293 

turnabout,    175-85    (see   also   Turn- 
about plays) 

two-man,  186-96 

two-on-two,  173 
Plugging,  29-30 
Positions: 

chart,  152 

defensive,  23 

during  free  throws,  268 

offensive,  23-24 

for  out-of-bounds  plays,  256 

of  players  in  Two-Three  offense,  150 

shooting,  102,  106 
Possession,  tap,  250-51 
Post  man  (see  Pivot  man) 
Post-pivot  block,  196 
Post-pivot  man  (see  Pivot  man) 
Post-screens,  153 
Practice  programs,  5-6 
Practices: 

early  season,  17 

first  week  of,  318,  319-20 

following  meals,  19 

free-throw,  120 

individual  coaching  and,  6 

night,  11 

outline  for,  10,  319-23 

planning,  5,  318 

pre-game,  286,  288-89 

reporting  for,  318 

second  week  of,  321-22 

to  simulate  game  conditions,  11 

skull  (see  Skull  sessions) 

small-group,  319 

short  versus  long,  10 

time  factor  in,  5 
Praise,  6 
Pre-game  practice,   285,   288-89 


INDEX 


333 


Press,  275-79 

dribbling  and,  275 

employed  throughout  game,   157 

full-court,  286,  289,  295 

one-man,  295 

preparing  for,  275 

prevalence  of,   155 

semi-court,  286,  295 

two-man,  296 

zone,  296 
Publicity,  2-3 
Public  relations,  2 
Pump  shot,  113 
Punching  bag,  25,  173 


Quarterbacks: 

abilities  of,  23,  150 

coach's  relation  to,  11 

court  balance  and,  151 

defined,  11,  150 

responsibility    for    directing    attack, 

248 
selection  of,  322 


Rear  dribble  block,  91 
Rear  post  block,  90 
Rebound  areas,  160 
Rebounding: 

angle  of,  105,  106 
baseball  pass  and,  32-33 

by  corner  men,  153 

defensive,  77-78 

after  free  throws,  266 

offensive,  77-78 

outlet  passes  after,   157,   158,   160 

by  pivot  man,  151 
Referee,  323 
Reporting: 

to  officials,  323 

for  practices,  318 
Reserves,  8-9 
Reverse,  cross-court,  81 
Reverse  dribble,  65 
Reverse  Post,  84,  85 
Reverse  spin  (see  Kill) 
Rim: 

focus  on  during  hook  shot,  117 

tip-in  shots  and,  114 

as  shooting  target,  102,  108,  111,  114 
Rollers,  238 


RoUs: 

corner-to-corner,  306 

five-man,  237 

four-man,  with  post-pivot,  238 
Rope  skipping,  13,  17,  25,  299 
Rules: 

coach's  obligations,  3 

training  (see  Training  rules) 
Running  drill,  300 
Running  game,  266,  289 
Running  shot,  109-10 


Sag,  280-81 
Saggers,  280,  281 
San  Francisco,  267 
Schools: 

administrations,  1,  2 

coaching,  5 

loyalty  in,  2 

policies  of,  1 
Scissors  cut,  83 
Score  book,  291 
Scorer,  official,  323 
Scoring,  93,  102 

during  freeze,  271,  292-93 

hook  shots  and,  117 

jump  shots  and,  113 

opponent's  leader  in,  291 

in  out-of-bounds  plays,  256 
Scouting,  12,  293-94,  323 

checklist  for,  294-96 

filing  reports  on,  293 

to  learn  zone  defenses,  248 

method  of,  293-94 

notes  gathered  in,  285,  288 

review  of,  288 

value  of,  293 
Screens,  86-92   (see  also  Rlocks) 

back,  88 

blocks  and,  86 

creating,  86 

cuts  and,  78 

defense  and,  86 

double,  293 

double  block,  92 

dribble,  193 

drills  in,  312-13 

inside,  87,  225,  226,  312-13 

offensive  roll,  92 

outside,  87,  224 

post,  153 

tactics  of,  156 

triple,  293 

used  against  sag  and  float,  280 


334 


INDEX 


Screens   ( Cont. ) : 

used   with   give-and-go   weave,    169, 
170 
Scrimmage  games,  322 
Scrimmages : 
daily,  321,  322 

to  eliminate  poor  players,  318 
method  of,  322 
as  selection  device,  27 
S  cut,  82 

Semi-Court  press,  286,  295 
Sessions: 

practice,  5-6  (see  also  Practices) 
skull  (see  Skull  sessions) 
Set    shots,    310-11     (see    also    Shots, 
types  of) 
one-hand,   110-11 
two-hand,  111-12 
Shadow  boxing,  13,  17,  25,  173 
Shooters,  93,   102 
Shooting: 

angle  of,    105 

chart,  106 
charted  areas  for,  11 
classified  by  direction,  102 
clean,  104,  114,  116 
drills  in,  93,  310-12 
favorite  positions  for,  102 
free-throw,  120 
importance  of,  93 
kinds  of  (see  Shots,  types  of) 
rules  for,  121 
spot,  260 
technique  of,  104 
use  of  backboard  in,  104-5 
Shot  chart,  291 
Shots: 

angle  of,  105 
chart,  106 
classified  by  direction,  102 
clean,  104,  114,  116 
free-throw  (see  Free  throws) 
^one-hand  Jump.  113-14 
technique  and  follow-through,  104 
types  of: 
chart,  103 

diagonal  hook,  118-19 
diagonal  stop-jump,  119 
down-the-middle  lay-up,  107-8 
dunking    or    over-the-rim,    114-15 
half -hook,  117 
hook,  116-17 
one-hand  jump  push,  119 
one-hand  jump-twist  ,116 
one-hand  overhead,   110-11 


Shots   (Cont.): 
types  of   ( Cont. ) : 
one-hand  set,  110 
one-hand  underhand  lay-up,  108-9 
one-hand    underhand    sweep,    118 
right-hand  lay-up,  107 
running  one-hand,  109-10 
set,  110-12,  310-11 
step-away,  115-16 
straight  turn,  115 
tip-in,  114 
twisting  lay-up,  109 
two-hand  overhead,  112 
two-hand  overhead  jump,  112,  113 
two-hand  overhead  lay-up,    109 
two-hand  pump,  113 
two-hand  set,  111-12 
two-hand   underhand   lay-up,    108 
two-hand    underhand    sweep,    118 
under-basket  buttonhook,  109 
up-and-under,  116 
Side  dribble  block,  91 
Side  post  block,  89 
Side  rotation,  105 
Signals,  207-8 
cutting,  263 

in  out-of-bounds  situations,  260 
types  of,  208 
uses  of,  207 
Single-pivot  offense,  153 
Single-post  offense,  153 
Skills: 

defensive,  25 

fundamental    (see  Fundamentals) 
offensive,  25 
shooting,  102 
Skipping,  112 
Skull  sessions,  318,  323 
to  explain  drills,  318 
before  first  game,  323 
player's  part  in,  10 
Sleep,  19 
Slicing,  82 
Slicing  drill,  307-8 
Snap  pass,  31 
Speed,  11 
as  ability,  22 
in  passing,  29-30 
Spin,  104,  105 
"english,"   107 
reverse  (see  Kill) 
Spirit,  player,  7-8 
Split-the-post  principle,  197 
Splitting  the  post,  82,  196,  197 
Split  vision,  30 


INDEX 


335 


Sportsmanship,  3,  22-23 

in  coaching,  3 

player,  3,  22 
Spread-eagle  drills,  76 
Spread  offense,  154 
Squad  meetings,  16 
Staff  meetings,  15-16 
Stall,  154 

Stanford  University,   113 
Starting  lineup,  285,  288 
Step-away  shot,  115-16 
Straight  turn  shot,   115 
Strategy  boards,  10 
Style,  game,  286,  289 
Substitutes : 

first,  290 

first-line,  289 

special-purpose,  290-91 
Substitutions,  287,  290 
Sweepers,  158,  160,  164,  165 
Sweep  shots,  118 
Switch,  174,  176 
Switch  defense: 

attacking,  150 

change  of  direction,  283 

man-to-man,  294 

screen,  282 


Tall  men   (see  Height,  Players,  tall) 
Tap,   250-1,   253    (see  also  Jump-ball 
situations ) 

back,  255 

deep  back,  251 

forward,   253 

height  of  toss  and,  77 

necessity  for  controlling,  250 

signals  for,  75 

timing  and,  77 
Tap-in  drill,  316 
Target: 

in  hook  shots,  117 

rim  as,  102,  108,  111,  114 
Teaching: 

ethics  of,  1 

of   fundamentals,   4-5 
Teams: 

adaptibility,   9-10 

basic  attacks  of,  9 

championship,  172 

coaches  and,  3 

control  game  and,  267 

fundamentals  and,  5,  6 

primacy  of,  8 
Telegraphing,  34 


Ten-second  line,  155 
Three-man  passing  drill,  288 
Three-man  plays,  196-207 

corner  clearout,  198 

with    split-the-post    principle,    197 

transferring,  197 

weave  in,   196,  200 
Three-point  play,  293 
Three-Two  offense,  24,  150,  247 
Time-outs,  207,  293 

discussion  of  strategy  during,  290 

first,  287,  289-90 
Time  shot,  111 
Timing: 

of  cuts,  78 

in  jump-ball  situations,  75,  77 

in  passing,  29,  30,  33 

teaching  of,  169 

of  tip-in  shots,  114 
Tincture  of  Benzoin,  17 
Tip-in  shot,  114 
Trailer,  163,  164,  165 
Trainers,  11,  15,  18 

coaches  and,  3 

diet  and,  19 

at  pre-game  practice,  289 
Training,    18-20 

diet  requirements,  19-20 

fatigue  and,  21 

health  and,  1-2 

sleep  requirements,  19 

weight  problems  and,  19 
Training  rules,  11,  18-20 

importance  of,  4 

violations  of,   19 
Training  table,  19 
Trapping,  65,  66 
Triangle,  defensive,  315 
Triangle  dribble  block,  90 
Turnabout  play,  175-185 

defined,  175 

give-and-go  weave  and,  179 

dribble  block  and,  174 

situation  for,  202 
Turnaround  block,  212,  308-9 
Two-handed  chest  pass,  31 
Two-man  plays,  186-96 
Two-man  press,  296 
Two-on-two  plays,  173 
Two-Three    offense,    23,    150-53,    196, 
212-46,  283 

U 

Under  and  out  cut,  85 
Up-and-under  shots,  116 


336 


INDEX 


V 


Variations,   defensive,   281-84 
Varsity: 

junior  (see  Jayvee  squad) 

selection  of,  26-28 
V  cut,  84 
Vision,  30,  300 

W 

Warm-up  drills,  286,  310 

pre-game,  288-89 

tap-in  drill  as,  316-17 
Weaves : 

five-man,  210-12 

give-and-go,  167-72   (see  also  Give- 
and-go  weave) 

three-man  backcourt,  301 

use  in  fast  break,  156 
Weeding  out,  317-18 

final,  322 

second,  321 
Weight,  24 


Weight  charts,  19 
Weight  problems,  19 
Western  Roll  offense,  24 
Workouts,  5-6  (see  also  Practices) 


Zone  defense,  24,  150,   157,   164,  234- 
35,  247-49 
back-line,     with     front-line     man-to- 
man, 281,  282 
four-man,  281 
list,  248-49 
One-One-Three,  295 
One-Three-One,  236,   245-46 
One-Two-Two,    234-35,    242-44 
press,  275 

principles  used  in  man-to-man,  280 
Three-One-One,  295 
Three-Two,  236,  244-45,  295 
Two-One-Two,  238-41,  295 
Two-Three,  234,  241-42,  295 

Zone  box,  282 

Zone  press,  296 


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